Latest news with #Tony-nominated
New York Post
3 days ago
- Entertainment
- New York Post
Miracle Mop titan Joy Mangano is auctioning her LI mansion
A famed inventor and entrepreneur with a new Broadway close-up sure knows how to clean up — and this time she has enlisted an auction house to help. The mastermind of the self-wringing Miracle Mop, Joy Mangano has sold more than $3 billion worth of home products — including 1 billion hangers — and designed everything from guitars with Keith Urban to natural cleaning products with the rapper Pitbull. And, on July 25, Mangano is auctioning her 9-acre Long Island estate with Concierge Auctions, in partnership with broker Kyle Roskot of the Agency. 11 Joy Mangano. Weiss Eubanks/NBCUniversal via Getty Images 11 Driving up to the estate's gracious entrance. Visual Grip 11 The interiors of the home are breathtaking. Visual Grip 11 The light-filled, two-story great room. Visual Grip 11 The chef's kitchen anchors the home. Visual Grip 11 Gorgeous beamed vaulted ceilings show the home's attention to detail. Visual Grip 11 The bar and game room provides ample space for entertaining guests. Visual Grip The historic property, known as Swan Manor, first hit the market for $20 million in 2022 and it was last asking $11.99 million. It was originally designed in 1917 by Stanford White, who created Washington Square Park's famed arch, the listing notes. While there is no minimum bid, starting bids are expected to be 'between $4 million to $7 million,' a Concierge Auctions spokesperson said. The estate will be auctioned move-in ready and fully furnished. 'I've seen a lot of homes around the world. This is a beautiful estate, and it also feels like a home,' said Mangano, a perfectionist who has spent millions renovating the property, which she bought for $1.35 million in 2000. The gated property is on the hamlet of St. James on Long Island's North Shore, between Manhattan and the Hamptons, in Suffolk County. It includes a 17,790-square-foot, nine-bedroom main house, and a 2,349-square-foot barn-turned-guesthouse that comes with three bedrooms. The main residence features a two-story great room, a sun room and a large chef's kitchen, along with an indoor pool. There's also a formal dining room with a fireplace, vaulted and wood-beamed ceilings, a gym, a sauna and a hot tub — and a wine cellar and tasting room in the finished basement. Outside, there's a tennis court, a pergola deck, walkways and a stone garden waterfall. 'When I first came to this amazing estate, my whole family was here. Now I'm rambling around with my dog. The space is miraculous. It was a dream come true for me and now it's someone else's turn,' Mangano told Gimme Shelter. 11 One of the estate's many bedrooms. Visual Grip 11 The lovely indoor pool is one of many perks. Visual Grip 11 Just in time for summer, there's also a massive chunk of outdoor space for al-fresco hangouts. Visual Grip 11 Swan Manor's grand lawn. Visual Grip The news comes as 'Joy: A New True Musical' debuts on Broadway, starring Tony-nominated actor Betsy Wolfe. It's based on Mangano's life story and follows the success of the 2015 biopic 'Joy' starring Jennifer Lawrence, who received an Oscar nomination for her portrayal of Mangano and a Golden Globe. 'The only thing that's better than a movie is a musical because it goes on and on,' Mangano quipped, adding that her home is a great place to foster creativity. 'The first time I heard the music for the show was here in my living room at Swan Manor. It was monumental — and now they are getting standing ovations!' she said. Celebrities who have stayed at Swan Manor include Paula Abdul. 'I purchased [the home] myself. I was enamored with everything about it. Everyone who comes here never wants to leave,' Mangano said.
GMA Network
3 days ago
- Entertainment
- GMA Network
'Side Show: The Musical' dares audiences to see the people behind the spectacle
Step into the world of freaks, where the misunderstood take center stage, and the strange is nothing short of spectacular. This July, The Sandbox Collective invites audiences to confront their curiosities and their compassion as it brings the Tony-nominated Broadway gem 'Side Show: The Musical' to the Philippine stage. Based on the true story of conjoined twins Daisy and Violet Hilton, "Side Show" follows the sisters' journey from carnival attractions to vaudeville stars in 1930s America. Beneath the circus lights and public fascination lies a deeply human tale of love, longing, and the pursuit of identity. Full-circle moment For director Toff De Venecia, "Side Show" is more than a programming decision. It's his return to his artistic roots. 'This show is special to me,' De Venecia said during a press conference. 'It was the first production I ever directed on my own.' He first staged the musical in 2010 following his co-directorial debut with "All Shook Up," and later helmed Sandbox's 2023 hit "Little Shop of Horrors." The idea to bring "Side Show" back came unexpectedly during the recent run of "Next to Normal," when a backstage moment reignited his connection to the show. 'It feels like a full-circle moment,' he added. Beyond the spectacle Though wrapped in vintage circus flair — complete with eccentric characters and glitzy performances — "Side Show" is ultimately a poignant exploration of what it means to be different in a world obsessed with sameness. Bound by birth but divergent in dreams, Daisy and Violet confront the pressures of fame, love, and the aching desire for autonomy. 'Like everyone else,' they sing — a haunting refrain that cuts through the makeup and the spotlight. The show doesn't ask audiences to stare at 'freaks.' It dares them to truly see the people beneath the label. Stellar cast Alternating as the Hilton twins are Tanya Manalang, Marynor Madamesila, Krystal Kane, and Molly Langley, four formidable performers bringing distinct energy and vocal depth to the demanding dual roles. Joining them is Jon Santos as The Boss, the manipulative ringmaster, along with two sets of alternating male leads: Reb Atadero and CJ Navato as Terry Connor, and Vien King and Tim Pavino as Buddy Foster. Marvin Ong and Joshua Cabiladas share the role of Jake, the twins' loyal protector. A dynamic ensemble rounds out the cast, portraying the carnival's 'curiosities,' characters that add both heart and theatrical wonder to every scene. Timely, resonant, unmissable As society continues to navigate the politics of identity and difference, "Side Show" feels more relevant than ever. It shines a light on exploitation, longing, and resilience — themes that echo far beyond the big top. The musical holds up a mirror to our own forms of modern voyeurism, where social media spectacle often replaces genuine understanding. In this way, Side Show becomes more than historical fiction. It becomes a cultural critique. Side Show asks: What does it mean to be human in a world that treats you like an oddity? Performances begin July 26 at the Power Mac Center Spotlight Blackbox Theater. Prepare to be amazed, not just by the costumes or choreography. but by the raw humanity at the heart of "Side Show." It's not just a musical. It's a moving invitation to look beyond appearances and embrace what makes us all uniquely extraordinary. — LA, GMA Integrated News
Scotsman
5 days ago
- Entertainment
- Scotsman
Co-producers of Broadway's Operation Mincemeat bring two new productions direct from NYC to Edinburgh Festival Fringe
The first-ever staged production of the outrageous new 80's horror comedy rock musical I WAS A TEENAGE SHE-DEVIL and the one-act dark comedy HOW NOT TO FUND A HONEYMOON are headed to Edinburgh Festival Fringe this August. Sign up to our daily newsletter Sign up Thank you for signing up! Did you know with a Digital Subscription to Edinburgh News, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Brought across from NYC by Tony-nominated co-producers of Broadway's Operation Mincemeat, Claire Feuille and Josh Dooley, I WAS A TEENAGE SHE-DEVIL plays at theSpace @ Niddry St (Upper): Venue 9 from 1-22 August, and HOW NOT TO FUND A HONEYMOON plays at theSpace Triplex Studio: Venue 38 from 1-16 August. I WAS A TEENAGE SHE-DEVIL is a non-stop, big laugh, high-voltage musical from the twisted mind of Sean Matthew Whiteford, directed by Rachel Klein (Bettie Page: Queen of the Pin-ups), musical directed by Ryan MacKenzie, and costumed by Juda Leah. Advertisement Hide Ad Advertisement Hide Ad After being pushed over the edge by the most popular kids at school, four-eyed wallflower Nancy Nelson cries to the heavens for help! But it is Satan who hears her cry. The Devil transforms Nancy into a big-haired, foul-mouthed, sex bomb rocker who's hungry for souls, and sweet revenge is on the menu! Who will save Nancy? And will the power of love for who she really is break the spell before it's too late? HOW NOT TO FUND A HONEYMOON is a funny, absurd short play by Stephanie Greenwood. The musical (under its previous incarnation, Girlfriend From Hell: The Musical) has been performed in concerts and staged readings at The Gene Frankel Theatre (NYC), Green Room 42 (NYC), 54 Below (NYC), The Cutting Room (NYC), The CENTER for Performing Arts (Rhinebeck, NY), and was part of the 2022 Playbill Pride in Times Square Festival. This upcoming production is the first time audiences will witness a fully-staged production of this iconic musical in the UK. 'I'm beyond elated to bring this brand-new show to life at Edinburgh Fringe with this tremendous team. I WAS A TEENAGE SHE-DEVIL is, at the surface, a hilarious 80s horror rock show in the spirit of the films and music I've adored my whole life. Threaded within is a beautiful love story about how proudly owning your true, authentic identity has the power to save the world. It's a feel-good time, the music is outrageously high-octane, and while it's set in the past, the story is meant for today,' said Sean Matthew Whiteford (book, music, lyrics). Claire Feuille and Josh Dooley of Feuille Dooley Productions will serve as Lead Producers, along with Producers Bryan Campione and Leo de Rothschild. Advertisement Hide Ad Advertisement Hide Ad I WAS A TEENAGE SHE-DEVIL will perform at Upper Theatre at theSpace @Niddry St: Venue 9 (Niddry St, Edinburgh, EH1 1TH). Previews run August 1st and 2nd, with opening night August 3rd. The production will conclude August 22nd. Performances are nightly at 22:30 (10:30PM). I WAS A TEENAGE SHE-DEVIL is a non-stop, big laugh, high-voltage musical coming to Edinburgh Festival Fringe For more information on the production, including dates and tickets, visit: HOW NOT TO FUND A HONEYMOONis a funny, absurd short play by Stephanie Greenwood, directed and sound designed by Colette Hamilton. The cast will include Greenwood, Feuille, and Ausette Anderies. The problem: Gwen and Charlie are strapped for cash. Their wedding is coming up and they have no way to pay for the honeymoon of their dreams. Not in this economy. The solution: Break into Aunt Robyn's house and steal the mysterious treasure that she is always bragging about but no one has ever seen. This is how Charlie and Gwen find themselves outside Aunt Robyn's house holding a rock, wondering if they should throw it through her window and really hoping that she is definitely on holiday. Advertisement Hide Ad Advertisement Hide Ad Claire Feuille (Feuille Dooley Productions) will serve as Lead Producer, in association with Stephanie Greenwood (Very Rascals). This production will mark a return to Scotland for Greenwood, Hamilton, and Anderies, who are all alumni of the Royal Conservatoire of Scotland. HOW NOT TO FUND A HONEYMOON will perform at the Space Triplex Studio: Venue 38 (The Prince Philip Building, 19 Hill Place EH8 9DP). Previews run August 1st and 2nd, with opening night August 3rd. The production will conclude August 16th. Performances are daily at 11:05AM. For more information on the production, including dates and tickets, visit:
Time Out
16-06-2025
- Entertainment
- Time Out
Stereophonic
Stereophonic playwright David Adjmi recently wrote an article for a major British newspaper in which he waxed effusively about how his Broadway smash had been inspired by the band Led Zeppelin. I wonder if his lawyer was holding a gun to his head as he wrote it, because while the Zep may have been a tertiary influence, Stereophonic is very very very very very very very clearly about Fleetwood Mac. There are Fleetwood Mac fan conventions less about Fleetwood Mac. Hell, there are incarnations of Fleetwood Mac that have been less about Fleetwood Mac. Specifically, it's a lightly fictionalised account of the recording of the Anglo-American band's mega-selling Rumours album, and while not every detail is the same, many are identical, from the cities it was recorded in (Sausalito then LA) to the gender, nationality and internal-relationship makeup of the band, to details like female members 'Holly' (aka Christine McVie) and 'Diana' (aka Stevie Nicks) moving out out the studio accommodation they were sharing with the band's menfolk in favour of their own condominiums. Which l hasten to say is all to the good, even if it frequently feels like a miracle that Stereophonic has stormed Broadway – becoming the most Tony-nominated play of all time – without being derailed by legal issues (though there is a lawsuit against it from Rumours producer Ken Caillet, who has accused Adjmi of ripping off his memoir). Of course, it is a great subject for a play. The story of how erstwhile blues noodlers Fleetwood Mac recorded one of the greatest pop albums in history, while breaking up with each other, while on drugs isn't simply a bit of pop trivia: it's a parable on the nature of the creative process. It's an incredibly tricky story to tell in a way that doesn't come across all VH1 Behind the Music. But Stereophonic carries it off spectacularly well. For starters, the veil of fiction allows Adjmi to portray Peter (Jack Riffiford, basically Lindsay Buckingham) and Reg (Zachary Hart, basically John McVie) as catastrophic fuck ups - the former toxic and controlling, the latter addled and out of control. The reason biographical musicals are uniformly terrible is that the musicians or their estate have to sign the content off before they'll allow their songs to be used, resulting in tediously flattering portraits. That does not happen here. For all their faults it's a pleasure spending time with these fuck ups And then there are the songs by erstwhile Arcade Fire man Will Butler. They don't sound anything like Fleetwood Mac really: at a pinch you could argue they sound like Arcade Fire gone '70s soft rock. The lyrics don't have the stinging rawness of Rumours – it would be clunky cosplay to try and write a song like 'Go Your Own Way' for this project. But they're rousing, emotional, layered tunes, written for a band with the same makeup of singers and instrumentalists as Fleetwood Mac, performed live by the cast. There's a notable scene in which the band go through endless takes of a track called 'Masquerade': spoiler etc, but the scene finally ends with them getting it right – the scene would fall flat if it wasn't a good song. So no, Butler hasn't written Rumours II, or even tried. But Daniel Aukin's production hinges on the songs written for it being good enough to feel credible, which is pretty audacious. Structurally, it's a three-and-a-bit-hour interrogation of the creative process that features little more than the band chatting to each other or recording. Set solely in a windowless studio, director Aukin has supreme confidence in the play's pacing and rhythms. There is a lot – like a lot – of fannying around over drum sounds and guitar tones, but the play leads us to the right psychological space to understand that there's much more to this than musos muso-ing. A blizzard of coke, exhaustion, the enormous pressure to follow up their previous album, and of course cataclysmic inter-band tensions all go some way to explain why the band and their affable engineers Grover (Eli Gelb) and Charlie (Andrew R Butler) find themselves agonising over every detail. There is a lot about gender and power here. If the broad brushstroke picture is 'band makes an album', the more nuanced one is 'two talented women try to assert themselves in a toxic male-dominated creative environment'. Both Holly (Nia Towle) and Diana (Lucy Karczewski) know their worth. But Holly has to negotiate the broken heart of her ex, Reg, who has pretty much fallen apart after she dumped him and needs to be looked after if they're actually going to make this record. Meanwhile Diana has to deal with the brittle, self-absorbed musical virtuoso Peter, who she's still in a relationship with. His natural sense of perfectionism has been curdled by resentment over Diana's rising star status in the band, and his many snarling putdowns of her work are deeply uncomfortable. Zoom in even closer, and it's the story of Diana stepping out from Peter's control – at the beginning she's subservient to him for the sake of keeping the peace, but she will soon reject this volcanically. It's worth stressing that Stereophonic is extremely entertaining, because it's a show about seven great characters, and the reason the characters are so great is largely because the IRL Fleetwood Mac are a great bunch of characters. For all their faults it's a pleasure spending time with these fuck ups, from Towle's tough, brassy Holly to Chris Stack's avuncular-but-edgy Simon (ie the Mick Fleetwood character). Knob twiddlers Grover and Charlie aren't based on famous people, but still counterbalance the story, a couple of guys who might have expected themselves to be out of their depth musically instead finding themselves totally stumped by the band's emotional problems If there's one thing beyond a degree of legal protection that Stereophonic obviously gains from not technically being about Fleetwood Mac, it's that it ends on a genuinely uncertain note, and not with, I dunno, the band slamming through 'The Chain' while stats about the album's colossal sales flash up. Was this tectonic creative process worth all the damage inflicted for the music it created? Rumours is so beloved now that it's hard to conclude the band should have actually sacked it off. And you'd probably say the same for the Stereophonic band to be honest. But without the quadrillions of sales and instantly recognisable tunes, the damage these people did to each other in the name of art is brought home with devastating eloquence.
Yahoo
15-06-2025
- Entertainment
- Yahoo
‘80s Beauty Queen, 62, Dazzles With Ageless Appearance: ‘So Elegant'
'80s Beauty Queen, 62, Dazzles With Ageless Appearance: 'So Elegant' originally appeared on Parade. Vanessa Williams is making aging look easy. The 62-year-old actress and singer dazzled during a recent performance at the St. George Theatre in Staten Island, NY, in celebration of the venue's 95th anniversary. Williams entertained the audience of over 1,000 with hits from the '80s and '90s, her smooth, silky voice sounding as good as Ugly Betty star, who is also a Tony-nominated Broadway actress, is known for her stunning appearance. The former beauty queen seems untouched by time, and fans were quick to take notice. In a recent video of Williams' performance at the St. George Theatre, fans praised her 'elegant' appearance. One commenter wrote, 'Still looks and sounds so great,' while another shared, 'She looks and sounds wonderful.' As she performed songs like her 1988 hit Dreamin', fans hailed Williams as an 'icon' and 'living legend,' with some calling for her to record more last released a studio album in 2024, aptly titled Survivor. She is also the mother of four children: Sasha Fox (25), Jillian Hervey (35), Devin Hervey (32), and Melanie Hervey (37). 🎬SIGN UP for Parade's Daily newsletter to get the latest pop culture news & celebrity interviews delivered right to your inbox🎬 '80s Beauty Queen, 62, Dazzles With Ageless Appearance: 'So Elegant' first appeared on Parade on Jun 11, 2025 This story was originally reported by Parade on Jun 11, 2025, where it first appeared.
