Latest news with #Williamstown
Daily Mail
12 hours ago
- Entertainment
- Daily Mail
Kaia Gerber takes a bow after acting in play reading series at Williamstown Theater Festival in MA
Kaia Gerber excitedly took a bow during curtain call of the play reading for White Girls Gang during the Williamstown Theater Festival in Williamstown, MA on Tuesday night. The project combined two of the 23-year-old DNA Model's passions - acting and book clubs - as she's co-founder of the Library Science book club. '[White Girls Gang] is a satire about a book club gone incredibly wrong,' playwright Rianna Simons explained to the Royal Gazette in 2023. 'It's about this group of White women. They're in a book club and they're trying to understand Audre Lorde and in so doing, end up revealing all of this stuff from their past that they use to destroy each other and themselves.' At one point, Kaia intimately touched the shoulder of director Gus Heagerty and leaned her head towards his while posing with the cast onstage The Clark Art Institute's Auditorium. On Monday, Gerber and the 36-year-old maestro were seen strolling side by side while carrying similar totes after rehearsal for the $20/ticket production. The Overcompensating actress was also seen hanging outside the venue with co-star Lily McInerny, playwright Rianna as well as co-stars Omari K. Chancellor and Gus Birney. Kaia - who relies on professional stylist Siena Montesano Gones - was dressed down in a baggy red T-shirt, navy-blue shorts, and black ballet flats for the 29-hour rehearsal process. Susan Sarandon and Kate Walsh are set to star in a play reading for Worms, which will be held at the MainStage Theater in Williamstown this Thursday at 1:30pm. Gerber was last romantically linked to Jeff Pullman's son Lewis after being spotted together in June and January with an insider telling People: 'They're a cute couple and very low-key.' The Hacks guest star ended her prior three-year relationship with Oscar nominee Austin Butler last December. Kaia also enjoyed a 13-month romance with The Narrow Road to the Deep North heartthrob Jacob Elordi (who, like Butler, also played Elvis) after a two-month fling with The Home actor Pete Davidson. Gerber will next portray popular social media star Chloe Benson in Max Minghella's horror comedy Shell, which closes the Popcorn Frights Film Festival in South Florida on August 17. The dismally-reviewed sci-fi thriller also stars Kate Hudson, Elisabeth Moss, Elizabeth Berkley, Mary Lynn Rajskub, and Randall Park. In May, the Givenchy stunner signed on to star in Ryan Murphy's prep school thriller The Shards for FX, writing: 'Screaming as both myself and the tangible participant!' On Monday, Gerber - who's said to be dating Lewis Pullman - and the 36-year-old maestro were seen strolling side by side while carrying similar totes after rehearsal for the $20/ticket production Gerber will next portray popular social media star Chloe Benson alongside Kate Hudson (L) and Elisabeth Moss (R) in Max Minghella's horror comedy Shell, which closes the Popcorn Frights Film Festival in South Florida on August 17 In May, the Hacks guest star signed on to star in Ryan Murphy's prep school thriller The Shards for FX, writing: 'Screaming as both myself and the tangible participant!' Max Winkler will also star in the small-screen adaptation of Bret Easton Ellis' 2023 novel. Kaia's other upcoming projects include Jonah Hill's black comedy Outcome for Apple TV+, Mother Mary for A24, and the second season of Abe Sylvia's high society dramedy Palm Royale for Apple TV+. The privileged nepo baby's famous mother - nineties supermodel Cindy Crawford - also pursued acting in projects like Fair Game, Frasier, 3rd Rock from the Sun, The Simian Line, According to Jim, Wizards of Waverly Place, and BoJack Horseman.
SBS Australia
2 days ago
- Entertainment
- SBS Australia
Swiss culture and delights in Melbourne for Swiss National Day
The Swiss Festival 2025 will take place on August 2 at Seaworks, Williamstown in Melbourne. Tickets are available on the Swiss Festival website. Rolf Huber ist Präsident des Swiss Festivals. Credit: Sabine Mathies
Daily Mail
5 days ago
- Entertainment
- Daily Mail
Home seen on beloved Aussie TV show hits the market for $2.4M - so can you recognise this iconic house?
A historic, and once famous, home in Williamstown, Victoria has hit the market with a price guide of $2.19 million to $2.4 million. Some may recognise the 8 Thompson St property as the house that appeared on the police drama Blue Heelers from 1994 to 2006, reported on Friday. Built in 1907, the home was used in external shots for the TV show, alongside recently sold 10 Thompson St which served as the fictional Mt Thomas police station. Both properties are heritage-listed as they once served as real-life police stations in Williamstown, previously known as the Sergeant and Watchhouse Keeper quarters. House number eight features three bedrooms, a sitting room that could double as a fourth, Baltic pine floors, decorative fireplaces and pressed-metal ceilings. From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the DailyMail's new showbiz newsletter to stay in the loop. It was last sold in 2003 for $832,500, making the current owner a potential $1,567,500 in profit on the upcoming sale. Anthony Christakakis, from Jellis Craig, revealed the local council have approved plans to extend the home and redesign the garden. 'The owners who intended to do the extension have moved overseas for work reasons,' he said. 'We have had lots of interest with some young families, especially locals. 'I think, being on a corner block over 700sq m with the potential to subdivide, subject to council approval, creates endless possibilities.' He went on to say number ten next door sold to a family earlier this year. The vintage cottage that served as a major location for the beloved Aussie series Blue Heelers hit the market in February with a price guide of $2.8 million to $3.1 million. The five-bedroom, two-bathroom Federation pad featured in the long-running cop drama as the fictional Mount Thomas police station. Built in 1907, the home was used in external shots for the TV show, alongside recently sold 10 Thompson St which served as the fictional Mt Thomas police station Blue Heelers, which ran for 12 years from 1994 to 2006 on the Seven Network, starred a large cast of fan favourites including Lisa McCune, Julie Nihill and John Wood. Located only 14km from the CBD, the gorgeously preserved home was seen in exterior scenes in Blue Heelers which was set in a small Victorian country town. Agents behind the sale told the Herald Sun the listing of the charming home attracted views from potential buyers with fond memories of the show. Blue Heelers is the fourth-most popular TV show in Australian history, with 25 Logies to its name, while lead actress Lisa McCune won four Gold Logies for the series. Major Australian actors who went on to stellar careers were featured in guest roles over the show's long run, including Hollywood star Hugh Jackman and Peter O'Brien. Other actors included Charles 'Bud' Tingwell, from Crawford's classic Homicide series of the '60s and '70s, as well as SeaChange star John Howard. Australians were in tears when Lisa's character Maggie Doyle was fatally shot in dramatic scenes on the show in 2000. Almost two decades on from the iconic TV moment, the actress revealed in 2018 that she never wanted the police officer to die. House number eight features three bedrooms, a sitting room that could double as a fourth, Baltic pine floors, decorative fireplaces and pressed-metal ceilings In the police drama, Maggie was shot and killed a day before she was due to enter witness protection, after she found a computer disk with information about a gang. She told 'I understand why they had to do it, but I think because I knew she had such a strong, young female following I felt really strongly that I wanted her to stay alive.' Lisa went on to feature in another long-running series Sea Patrol from 2007-2011. The four-time Gold Logie winner made headlines in 2024 when she won Dancing With The Stars Australia. The actress took out the Mirror Ball Trophy with her professional dance partner Ian Waite in a tense finale on the Channel Seven dancing competition. She was also awarded $20,000 for her chosen charities, the RCD Foundation and the Harrison Riedel Foundation.
New York Times
7 days ago
- Entertainment
- New York Times
The Circus Comes to Williamstown, With Celebrities and Beefcake
You weren't likely to miss Jeremy O. Harris on Sunday in the lobby of the '62 Center for Theater & Dance. At 6-foot-5, plus hair, he stood a head or more above the babble of the crowd. Dressed as always to delight, this time in bright striped pants and a faux-needlepoint floral top, he looked like a maypole, people swirling around him. Or maybe he was more of a lightning rod; as the creative director for this year's Williamstown Theater Festival, his brief was to bring the buzz to an institution that needed it, without burning the place down. But having spent three days racing from one event he had programmed to another, sometimes with barely a half-hour to catch a bite in between, I began to think of Harris, the 'Slave Play' playwright and walking Rolodex, as something else, too: a ringmaster, half visionary, half hokum. Come see the what-are-they-doing-here stars! (Pamela Anderson in 'Camino Real'? Why not?) Dare to experience the melodrama on ice! (Change out of those open-toe shoes, missy!) Wonder at the endless parades of beefcake! (Harris's play 'Spirit of the People,' one of the centerpiece events, might well have been called 'Men in Thongs.') In short, the long-hallowed, lately-harrowed festival is nothing this year if not a circus. Circuses can be fun if you bring few expectations. I tried to lower mine, but it was difficult, given the more traditional theatrical pleasures I'd experienced during visits here over the course of 45 summers. (In 1980, less pleasurably, I was a 'general assistant,' staying up all night slinging waffles and getting yelled at.) More recently, complaints of unfair treatment, racial discrimination and unsafe working conditions had made the festival's operating model untenable, eventually leading to this year's mad experimentation. Harris himself seemed to acknowledge the madness, telling my colleague Michael Paulson that the season, loosely based on European models and focused on the world of Tennessee Williams, might produce 'jewels' from 'raw, weird things' or might be 'a colossal failure.' He was right. On both counts. I don't want to ding an idea still aborning, and it's nice that he's pitched a very big tent. But 'raw' is putting it mildly. Much of what I saw during the first of the festival's three public weekends was under-rehearsed or overthought. Some of it was merely baffling. The Williams connections sometimes seemed stretched to the vanishing point and other times so tightly wound as to suggest parody. Ticketing, including weekend passes for preset 'itineraries,' was bizarrely complicated, with seven core events plus installations, pop-ups and late-night hangs. Few of them started on time, and fewer ended that way. But chaos is not itself failure, and certainly it did not prevent some of the promised jewels from shining. Top among them was Samuel Barber's 'Vanessa,' presented at the festival in a version vastly reduced from the one audiences saw at its Metropolitan Opera premiere in 1958. Some small roles along with the entire chorus were cut, and the original's large orchestra became a seven-player band. It now tells its story — about a woman who has barely moved for 20 years, hoping to remain beautiful for the return of her lover — in just 100 enthralling minutes. transcript [MUSIC] Unlike many abridged operas, this one lost little in being concentrated, partly because Gian Carlo Menotti's intense, almost neurotic libretto profits, like a wailing babe, from tight swaddling. At Williamstown, the tight swaddling came in the form of R.B. Schlather's chic, disciplined, minimalist production, using shadows cast on a long white wall to create a devastating X-ray of the story. A top-notch cast a few feet from my face wailed thrillingly. Did this have anything to do with Williams? You could perhaps connect the gothic aspects of 'Vanessa' to the playwright's hothouse style, and certainly Vanessa herself belongs in the pantheon of floridly suffering straight women like Blanche DuBois and Alexandra Del Lago created and flayed by gay authors. I got to see more of those women back at the Center for Drama & Dance, where three plays were running in repertory. In Harris's 'Spirit of the People,' the woman was Genevieve, a brittle yet entitled American in Mexico. Played by Amber Heard in her professional stage debut, she becomes a mezcal impresario and a kind of death doula to a circle of toxic queer tourists in skimpy beachwear. I can't grade the play itself — critics were asked not to review it — but I can give it five out of five beefcake stars, and five as well for Williams relevance. Indeed, 'Spirit of the People' (a pun, in part, on the mezcal) is in some ways a Williams collage, drawing heavily on all his plays — Heard ends up on a hot tin roof — but especially 'Camino Real,' a surrealistic hodgepodge from 1953. The festival's big, handsome production of that experimental work, directed by Dustin Wills, did not alas justify its revival, except as an object of historical interest for Williams completists. Also, admittedly, for beefcake completists: In the central role of Kilroy, Nicholas Alexander Chavez channeled Marlon Brando in a white T-shirt about 10 sizes too small and distressed to the point of transparency. I'm hardly objecting to sexy men — or women, for that matter. (Anderson, as the tragic if often inaudible Camille figure, was a knockout in strapless black velvet.) But when buried sexuality is unburied, other considerations get shoved aside. That was the case with Williams's 'Not About Nightingales,' a 1938 drama not produced in his lifetime — with good cause in two senses. (It's an impassioned but sloppy cry for prison reform.) In exploring the familiar trope of jailhouse homoeroticism even where Williams took care to suppress it, Robert O'Hara's otherwise sturdy production did the playwright's plea no favors. It's disappointing that the three big plays at the Center for Theater & Dance were the new offerings least reminiscent of the old festival's excellence, despite its intention to honor a connection to Williams going back to 1956. But you can't really honor what you don't quite trust. The names of the sandwiches at Pappa Charlie's Deli on Water Street, where playgoers dashed for quick bites between shows, may still honor beloved Williamstown stars — the Blythe Danner (tuna and sprouts); the Olympia Dukakis (feta and avocado) — but the archival production photos that used to line the halls of the main stage were gone. If the past seemed to require re-education or even redaction, perhaps that's why the three shows at the so-called Annex, four miles east on Route 2, felt freer and more satisfying than the ones in Williamstown proper. The Annex has no theatrical history, having until recently been a Rent-A-Center and before that a Price Chopper. Along with 'Vanessa,' the Annex offered two fine shows. On Friday afternoon, 'The Things Around Us,' an hourlong solo by the droll multi-instrumentalist Ahamefule J. Oluo, was a promising start to the weekend, exploring through melancholy stories interspersed with hypnotic music the interpenetration of opposites: past and future, nothing and everything, order and chaos. And then, on Sunday morning, came the joyful bookend: 'Many Happy Returns,' a dance piece by Monica Bill Barnes and Robbie Saenz de Viteri. Sprightly, humorous, with a motif of finger snaps to go with oldies like 'Take Good Care of My Baby,' it told as lightly as possible the tale of four inseparable high school friends now separated except in memory. transcript [MUSIC] None of the Annex shows, it bears noting, were plays, and all were jobbed in. 'Vanessa' was created for the festival by the New York City-based Heartbeat Opera; 'The Things Around Us' has been on tour for a while; 'Many Happy Returns' ran for a few weeks in January at Playwrights Horizons. Also not a play was the seventh core offering, the one on ice. At the Peter W. Foote Vietnam Veterans Skating Rink, home of the North Berkshire Youth Hockey Black Bears, five talented skaters performed Will Davis's 'The Gig,' a diverting if impenetrable riff on a late Williams novel called 'Moise and the World of Reason.' As the skaters swirled and swooshed in pretty patterns and garish costumes, never enacting the story literally but suggesting a circle of queer friends and lovers, the audience listened on headphones to selections from the novel while trying to stay warm. That one of the characters in the source material is in fact a skater seemed a very thin thread to hang the concept on. But the ideas binding the other offerings were hardly more robust. That Williams celebrated 'the outcast and derelict and the desperate' (as he wrote in a letter quoted in the festival program) is a lovely notion, but not much of an organizing principle. It would exclude almost nothing ever written, sung, danced or skated. Perhaps the more salient connection was Harris; it seemed that his imagination was the main thing being celebrated and the only glue holding the weekend together. (He narrated 'The Gig'; his niece and nephew performed in 'Camino Real.') Fair enough; Nikos Psacharopoulos, a festival founder, ran the place for decades as a cult of personality despite having one of the worst personalities I've ever encountered. Harris at least is charming. And if his primary goal was to use his cultural currency to serve artists while secondarily challenging audiences who don't mind spending money on duds in the hope of the occasional jewel, perhaps he succeeded. The big tent of creativity he designed was mostly sideshows, but it wasn't entirely empty.
Yahoo
23-07-2025
- Entertainment
- Yahoo
Brandon Flynn will poke your eye out in sexy new thirst trap
Thank you, Brandon Flynn! The sexy 13 Reasons Why actor is stripping down in a new selfie that has the internet going feral. To be fair, this isn't the first time Flynn has shown some skin online. Fans will remember that he had social media spiraling when he starred in a very steamy Calvin Klein ad back in 2023. We're still drooling over those pics! The model is currently promoting his stint in Spirit of the People at the Williamstown Theatre Festival playing now through early August. Check out the spicy pic and hilarious online reactions below! — (@) — (@) — (@) — (@) — (@) — (@) — (@) — (@) — (@) — (@) This article originally appeared on Pride: Brandon Flynn will poke your eye out in sexy new thirst trap RELATED Actor Brandon Flynn Strips Down For New Steamy Calvin Klein Ad 15 Sexy Pics of 'Hellraiser' Star Brandon Flynn to Fire Up Halloween 10 LGBTQ+ celebs who are sober & proud
