Tag: musicals

Review: ‘Dear Evan Hansen,’ starring Ben Platt, Kaitlyn Dever, Amandla Stenberg, Nik Dodani, Colton Ryan, Danny Pino, Julianne Moore and Amy Adams

September 23, 2021

by Carla Hay

Ben Platt and Julianne Moore in “Dear Evan Hansen” (Photo courtesy of Universal Pictures)

“Dear Evan Hansen”

Directed by Stephen Chbosky

Culture Representation: Taking place in Bethesda, Maryland, the musical film “Dear Evan Hansen” features a cast of predominantly white characters (with some African Americans and Asians) representing the middle-class.

Culture Clash: Due to a misunderstanding over a typed letter, a lonely teenager in his last year of high school pretends that he was the secret best friend of a fellow student who committed suicide. 

Culture Audience: “Dear Evan Hansen” will appeal primarily to people who are fans of the Tony-winning musical on which this movie is based, but the movie fails to capture the spirit of the stage version.

Danny Pino, Amy Adams and Kaitlyn Dever in “Dear Evan Hansen” (Photo courtesy of Universal Pictures)

On paper, the movie musical “Dear Evan Hansen” seems like it would be guaranteed to have the same appeal as the Tony-winning musical on which it’s based. However, the movie’s talented cast can’t redeem this misguided mush that clumsily handles serious issues such as mental illness and suicide. Sometimes, it isn’t enough to have members of a Broadway musical’s Tony-winning team reprise the same roles for the movie. The “Dear Evan Hansen” movie had its world premiere at the 2021 Toronto International Film Festival.

Several of the principal team members who won Tony Awards for the “Dear Evan Hansen” stage musical came on board for the movie version of “Dear Evan Hansen.” Ben Platt returns in his starring role as Evan Hansen. Steven Levenson wrote the musical’s book and the movie’s screenplay. Marc Platt (Ben Platt’s father) is a producer. Benj Pasek and Justin Paul wrote the musical score and songs. The movie version has most of the same songs from the stage musical, except for the original songs “A Little Closer” and “The Anonymous Ones,” which were both written for the movie.

Stephen Chbosky, who earned rave reviews for writing and directing his 2012 movie adaptation of his novel “The Perks of Being a Wallflower,” misses the mark in directing “Dear Evan Hansen,” another story about a teenage boy who’s struggling with mental illness. (Chobsky was not involved in the “Dear Evan Hansen” stage musical, whose original Broadway production was directed by Michael Greif.) In “Dear Evan Hansen,” Evan Hansen is a socially awkward loner, who is in therapy for anxiety and depression. In the “Dear Evan Hansen” movie, these issues are treated like “disease of the week” plot points. The movie also callously fails, until the last few scenes, to have much regard for the inner life of the person who committed suicide in the story, because the movie is all about Evan Hansen’s angst over keeping secrets about lies that Evan Hansen created.

Unfortunately, the movie missed some opportunities to have more exploration and sensitivity about what led to the suicide that becomes the catalyst for the entire story. Instead, the emphasis is on trying to make viewers feel sorry for a teenager who lies to people about being the suicide victim’s best friend. The movie doesn’t make him an anti-hero but someone who should be admired for coping with his mental health issues while under the stress of concocting elaborate lies.

In the beginning of “Dear Evan Hansen” (which takes place in Bethesda, Maryland), Evan is shown doing a therapy exercise required by his psychiatrist Dr. Sherman: writing a diary-like letter to himself. It’s an assignment that Evan has to do on a regular basis in order to ease some of his anxiety and hopefully boost his confidence. Dr. Sherman is never seen or heard in the movie, which is one of the reasons why parts of this movie look very phony and off-kilter. The self-addressed letter writing becomes the reason why Evan becomes entangled in a misunderstanding and a complicated deception that end up getting out of control.

Evan, who is in his last year at the fictional Westview High School, is the only child of divorcée Heidi Hansen (played by Julianne Moore), a nurse who works the night shift at a local hospital. Evan’s father abandoned Evan and Heidi when Evan was very young and has not been in their lives since then. More recently, Evan has been recovering from a broken left arm, which is in a cast, because he fell out of a tree.

The early scenes of Evan at high school embody a lot stereotypes of teenagers who are social pariahs. He’s ignored in the hallways and in classrooms. No one wants to have lunch with him in the cafeteria. Evan is afraid to talk to people, and when he does, he often stutters and stammers. And people usually don’t talk to him either, because he keeps mostly to himself.

There’s no indication of what type of academic student Evan is because the movie mostly cares about the web of lies that Evan ends up spinning. At home, Evan’s mother Heidi constantly reminds him to write the self-affirming letters, because she doesn’t want him to “go back to how it was last year,” which implies that Evan had some kind of breakdown back then.

As is typical for a story about a male nerd in high school, he has a crush on a girl whom he thinks is out of his league, and he’s too shy to even talk to her. Evan’s crush is Zoe Murphy (played by Kaitlyn Dever), who is two years younger than he is. Zoe, who is artistic and introverted, plays guitar in the school’s marching band.

Evan’s only “friend” at school is someone who often acts embarrassed to be around Evan. His name is Jared Kalvani (played by Nik Dodani), who makes a lot of cruel remarks to Evan, but Jared think he’s being witty and funny when he says these awful things to Evan. For example, Jared tells Evan that they are “not real friends,” because Jared feels obligated to hang out with Evan only because their mothers are friends. Jared also calls Evan a “total disaster” when it comes to dating. Jared tells Evan that he won’t sign Evan’s arm cast because Jared doesn’t want people to think that he and Evan are friends.

It’s the beginning of the school year, and Jared (who is openly gay) brags to Evan that he spent his summer vacation at a camp where he gained muscle weight and hooked up with a Brazilian hunk who’s a model. Jared is a motormouth who seems like the type to exaggerate things about himself in order to boost his own ego. Viewers will get the impression that Jared hangs out with Evan so Jared can feel socially superior to Evan.

One day in the school hallway, Evan has a run-in with a school bully named Connor Murphy (played by Colton Ryan), who is in Evan’s graduating class. Connor also happens to be Zoe’s older brother. Connor sees Evan looking at Connor while Evan gives a small nervous laugh. Connor’s temper explodes and he yells at Evan for laughing at him.

Zoe is among the people who saw this outburst, so shortly afterward, she approaches Evan and says she’s sorry for the way that Connor was so rude to Evan. Zoe introduces herself, but bashful Evan is tongue-tied and almost having a panic attack. Evan stammers something that Zoe can’t understand and then he runs away from her.

One day, Evan is in the school library, where he has printed out another letter to himself. The letter reads: “Dear Evan Hansen: Turns out this wasn’t an amazing day after all. This isn’t going to be an amazing year because why would it be? Oh, I know, because there’s Zoe, who I don’t even know and who doesn’t know me, but maybe if I talk to her, maybe things will be better. Or maybe nothing will be different at all. I wish everything was different. Would anyone notice if I just disappeared tomorrow? Sincerely, your best and dearest friend. Me.”

Just as he is about to leave the library, Evan runs into Connor again. To Evan’s surprise, Connor is even-tempered and asks to signs Evan’s arm cast. After Connor signs it, he smirks and says, “Now we can pretend to be friends.” However, Connor sees the letter that Evan wrote to himself, Connor reads it, and he has another angry tantrum. Connor is upset about Evan’s letter, which Connor calls a “creepy letter” about Zoe. Connor is so incensed that he takes the letter from Evan.

A few days later, Evan finds out about something tragic that happened the night before: Connor committed suicide. Word quickly spreads throughout the school. Evan is called into the school principal’s office because two people want to talk to Evan: Connor’s mother Cynthia Murphy (played by Amy Adams) and Connor’s stepfather Larry Mora (played by Danny Pino), who helped raise Zoe since she was a 1-year-old and since Connor was 3.

Cynthia and Larry found Evan’s letter among Connor’s possessions and assumed that Connor wrote the letter. Larry and Cynthia are surprised by the letter because they didn’t think Connor had any friends. At first, Evan tries to tell these grieving parents that he didn’t know Connor and he wrote the letter to himself. But when Cynthia and Larry see Connor’s signature on Evan’s arm cast, Cynthia is convinced that Connor and Evan must’ve had a secret friendship.

Cynthia in particular seems desperate to want answers about Connor’s suicide. She’s trying to find anyone who was close to Connor to help her understand things that she didn’t know about Connor. It’s at this point in the story that you have to wonder why Cynthia would think that Connor would write a letter saying that he doesn’t know his own sister Zoe, but the movie wants viewers to think that Cynthia is so overcome with grief that she isn’t thinking logically.

The more Evan tries to explain that he was never Connor’s friend, the more upset Cynthia gets. She thinks that Connor had secret email addresses and fake social media accounts to hide his “friendship” with Evan. Cynthia also asks a lot of leading questions that make it easy for Evan to give answers that she wants to hear. And so, with Evan’s anxiety starting to kick in as he faces these parents who want answers, he makes up a huge lie in this meeting, by saying that he and Connor were secret best friends. (It’s not spoiler information, because it’s in the movie’s trailers.)

The rest of the movie shows how Evan’s lies get more elaborate and how he desperately tries to cover up these lies. First, he tells Jared his secret and convinces computer whiz Jared to create fake email messages to and from Connor, so that Evan can forward these messages to the Murphy family. It makes Jared a willing accomplice to this deceit, but the movie badly handles the consequences that Jared would realistically have to face if the secret is revealed.

Cynthia and Larry want to know more about Connor from Evan. And so, it isn’t long before Evan is invited over to the Murphy home for dinner. During this dinner, Evan finds out that Zoe despised Connor, whom she calls a “bad person.” She has nothing good to say about her dead brother, and it naturally upsets Larry and Cynthia every time they hear Zoe insult Connor.

Later, in a private conversation between Zoe and Evan, she expresses some skepticism that Evan was ever really Connor’s friend. Although she and Connor weren’t close, Zoe finds it hard to believe that Evan and Connor were friends because she never saw them hanging out together. The only time that she saw Evan and Connor interacting with each other was when Connor yelled at Evan in the school hallway. Despite these major doubts, Evan is able to convince Zoe that he and Connor just had a minor argument in that school hallway and that they were really friends.

“Dear Evan Hansen” ignores the larger questions of what kind of emotional support Connor was or was not getting at home. It’s revealed that he was shipped off to rehab on multiple occasions for his substance abuse problems. And it’s obvious that Cynthia doesn’t want to talk about Connor’s worst flaws, so her denial about his problems might have made things worse.

However, viewers are only left to guess what went on inside Connor’s home and what was inside his head to make him commit suicide. To put it bluntly: Evan’s mental health problems are given all the importance in the movie, while the suicide victim’s problems are mostly ignored. This discrepancy defeats the movie’s supposed intention to bring more understanding and compassion for people who have suicidal thoughts.

The movie also goes off on a brief and unnecessary tangent that Jared gleefully participates in Evan’s deception because Jared likes the idea of making people think that Connor and Evan were secret gay lovers. It’s an idea that falls by the wayside when Evan and Zoe become closer and eventually start dating each other. Evan and Zoe becoming romantically involved is not spoiler information either, because it’s shown in the movie’s trailers.

Zoe opens up to Evan about why she and Connor never got along with each other. Connor had a long and troubled history of being a violent bully. For example, when Connor was 7 years old, he threw a printer at a teacher. He was also cruel to Zoe on many occasions. And mental illness apparently runs in the family. Zoe and Connor’s biological father died when she was a 1-year-old. His cause of death will not surprise viewers when it’s eventually revealed in the story.

At school, a concerned student named Alana Beck (played by Amandla Stenberg), who didn’t know Connor, decides to form a support group called the Connor Project to help create student awareness for mental health. She asks for Evan’s help in launching this project, but he avoids going to the student meetings about the project. Alana finds it difficult to get anyone to attend these meetings because Connor was not well-liked, so she’s surprised and disappointed that Connor’s “best friend” doesn’t want to attend these meetings either.

And when Evan tells a lie that Connor was the one who rescued Evan after he fell out of the tree, Alana gets the idea to launch a Kickstarter fundraising campaign to rebuild the defunct orchard where the tree is located. She wants to name it the Connor Murphy Memorial Orchard. Alana tries to enlist Evan’s help for this campaign too. And so, now Evan knows that this fundraising campaign was created as a direct result of his deceit. Can you say “financial fraud”?

Why is Alana going to all this trouble for Connor, someone she didn’t even know? It turns out that Alana has a personal reason for wanting to launch the Connor Project: Just like Evan, she’s on medication for anxiety and depression. Alana thinks that Connor also had a mental illness that could’ve been better treated if he felt that he had a support system at school. And therefore, Alana has a lot of empathy for anyone who is going through these struggles.

One of the reasons why the “Dear Evan Hansen” movie will turn off some viewers is that the movie tries to make Evan look sympathetic because he’s a social outcast, but he actually comes across as very selfish. Would he have continued lying to the Murphy family if he didn’t think it was a convenient way to get closer to Zoe? Probably not. Would he have kept up the charade of being sympathetic to Connor’s emotional problems if this fake sympathy hadn’t raised his social status at school? Probably not.

Evan also doesn’t seem to care to understand who Connor was as a human being until something happens in the story that forces Evan to look like he’s curious about what Connor’s interests were when Connor was alive. Throughout most of the movie, Alana is more inquisitive about Connor than Evan is. Of course, in real life, this discrepancy would have set off red flags very early on—not just with Connor’s family but also with teachers and students who would know best what the friendship cliques are at the school. It’s a reality that’s mostly ignored in this movie, which makes the students and teachers look extremely gullible in believing Evan’s lies, which aren’t even that clever.

And there’s an icky subtext that Evan is enjoying the attention and approval he’s getting for coming forward as Connor’s “best friend,” even though Evan is supposed to feel guilty about his lies. He does feel guilty, but mainly when he comes close to getting caught and other people get backlash that Evan didn’t expect. This backlash is rushed into the story as a way to force an inevitable plot development.

It’s possible that this movie could’ve been more convincing if it had been set in a time before the Internet and social media existed. However, no one ever asks Evan for more proof that he knew Connor as a best friend, such as things Connor would’ve told a best friend about himself. Everyone just accepts the superficial and vague email as “evidence” of the friendship.

Evan claims that his friendship with Connor was mostly online, by email. However, except for saying that Evan rescued him after the tree fall, Evan never provides the dates and times of when he and Evan supposedly hung out in person together. Viewers are supposed to believe that Evan thinks he can get away with this scam with his mother, who knows pretty much everything about him and is skeptical that he had a secret best friend. But somehow, Evan convinces her too. It’s a very flimsy part of the story.

The cast members capably handle the acting and song performances. However, the way the songs are placed in the movie don’t come off as well on screen as they would on stage. There’s a very cringeworthy fantasy sequence where Evan and Connor frolic, dance and sing in a carefree manner together, as if they were best friends. Ben Platt vacillates between portraying Evan as a pitiful wimp and a troubled opportunist. Dever does quite well in her scenes as Zoe, especially when she depicts Zoe’s conflicting love/hate emotions about Connor.

The songs from the stage musical that are in the movie are “Waving Through a Window,” “Good for You,” “Anybody Have a Map?,” “For Forever,” “Sincerely, Me,” “Requiem,” “If I Could Tell Her,” “Only Us.” “Words Fail,” “So Big, So Small” and the musical’s most well-known anthem “You Will Be Found.” The original songs “A Little Closer” (performed by Ryan) and “The Anonymous Ones” (performed by Stenberg, who co-wrote the music and lyrics) are serviceable but aren’t that outstanding. In addition, the soundtrack has Sam Smith doing a version of “You Will Be Found” and SZA performing “The Anonymous Ones.”

Mostly, the overall cloying tone of the movie is off-putting because it tries so hard to get viewers to root for Evan while he’s doing a lot of despicable lying about someone who committed suicide. Just because Evan has anxiety and depression shouldn’t be used as an excuse, which is what this movie does in a way that’s insulting to people with these mental health issues who would never stoop to the pathetic levels of what Evan does in this movie.

And it’s made even worse when it’s wrapped up in bombastic musical numbers that are intended to make people shed tears for Evan more than anyone else in the story—even though he’s not the one who lost a loved one to suicide and he’s causing more pain with his lies. This gross spectacle of a movie amplifies the deep-rooted flaws of the entire story, which might have been more acceptable to theater audiences who are more accustomed to seeing song-and-dance numbers about suicidal thoughts and other mental health issues. “Dear Evan Hansen” has a lot of deluded worship of Evan, who’s got a bland abyss of a personality and who isn’t even creative with his lies.

Universal Pictures will release “Dear Evan Hansen” in U.S. cinemas on September 24, 2021.

Review: ‘Annette,’ starring Adam Driver, Marion Cotillard and Simon Helberg

August 27, 2020

by Carla Hay

Adam Driver and Marion Cotillard in “Annette” (Photo courtesy of Amazon Studios)

“Annette”

Directed by Leos Carax

Culture Representation: Taking place in Los Angeles and various other parts of the world, the musical “Annette” features a predominantly white cast of characters (with a few African Americans) representing the wealthy and middle-class.

Culture Clash: A seemingly mismatched stand-up comedian and an opera singer have a passionate romance, get married, and have a daughter named Annette, but then a major tragedy changes their lives forever.

Culture Audience: “Annette” will appeal primarily to people who are fans of Sparks, Adam Driver and Marion Cotillard, as well as people who like to indulge in pretentious musicals with a weak plot.

Cast members of “Annette,” including front row, from left to right, Simon Helberg, Marion Cotillard and Adam Driver; and second row, Russell Mael (behind Cotillard) and Ron Mael, pictured at far right. (Photo courtesy of Amazon Studios)

Don’t believe the hype. The musical “Annette” is one of those annoying, self-indulgent movies that some people will automatically praise just because it looks European and artsy. Underneath the pretentious sheen is a boring and ludicrous story with forgettable songs and a baby that’s really an animatronic doll that looks like a cleaned-up sister of Chucky from the “Child’s Play” horror franchise.

Directed by Leos Carax, “Annette” has an abysmal screenplay and disappointing music written by brothers Russell Mael and Ron Mael, also known as the experimental pop duo Sparks. The Mael brothers have brief cameos in the movie because they’re not very good actors. Visually, the movie looks better than the actual material because the filmmakers had the budget to build some elaborate set pieces and film the movie in Los Angeles, Belgium and Germany.

Here’s how you know if a musical is good or not: Are at least half of the songs memorable? Do the songs fit well with the story? And do the actors look convincing when they perform the songs? If the answer is no to any of these questions, then the musical isn’t very good and could be downright lousy. A lot of people who don’t care about going along with pseudo-hipster groupthink are going to say “no” to “Annette.”

Some credit should be given to Carax for directing “Annette” with gusto and for choosing some noteworthy designs in production and costumes. But so much of “Annette” looks and sounds like a tacky regional theater production that ended up being made into a movie because the filmmakers convinced people with deep pockets to throw money at this train wreck. Just because a movie tries very hard to be “avant-garde” doesn’t automatically mean it’s supposed to be good art.

“Annette” starts out promising in the first half of the movie when it’s about the romance between edgy stand-up comedian Henry McHenry (played by Adam Driver) and elegant opera diva Ann Defrasnoux (played by Marion Cotillard), who live in Los Angeles and are both big stars in their respective careers. But it all goes downhill in the second half of the movie, when themes of death and greed are monotonously repeated until “Annette” ends with a whimper instead of a bang. Simon Helberg, who looks very uncomfortable and out-of-place in this musical, depicts an unnamed supporting character who goes from being an accompanist for Ann to being the conductor of an orchestra.

The best parts of “Annette” are seeing Henry perform on stage. Henry’s stand-up act can best be described as if Mitch Hedberg and the late David Foster Wallace decided to collaborate on a stand-up comedy routine and hire some backup singers. Henry’s material is both self-deprecating and condescending to the audience members, who do group chants and or indivdual shouting in response to what Henry says during his act. However, he has full command of the stage and is utterly fascinating to watch. Ann (who is French, just like Cotillard is in real life) is somewhat of a generic opera singer. No one will be be winning any major awards for acting or singing in this movie.

Henry and Ann’s relationship is breathlessly followed by the tabloid media. Ann and Henry get engaged, then married, and then they become parents to a daughter named Annette. And seriously: This baby-turned-toddler is depicted by a creepy-looking animatronic doll with terrible visual effects. It will get some laughs at first, but after a while, this unnatural-looking doll is just an awful distraction.

The last half of the movie has too much spoiler information to describe, but it’s enough to say that the movie gets a lot worse and reaches the point of no return from stupidity when Henry quits stand-up comedy to become a “stage dad” manager to Annette. There are some tragic crimes and a continual pile-on of horrifically bad dialogue. Not even the acting talent of Driver and Cotillard can save this overrated mess of a movie. Driver is also one of the producers of “Annette,” so he bears more responsibility than the other cast members for how this move turned out to be a disappointing slog of irritating and egocentric posturing.

During the latter half of the movie, Driver and Helberg barely even sing. What a ripoff. By the end of the movie, most viewers might remember one or two songs. There are some musicals that have plots and conversations that are mediocre, but the music is so great, it transcends the dialogue and resonates with audiences to the point where people are recommending the soundtrack to others. That’s not the case with “Annette,” which will find a specific audience, but none of the songs from this movie will have a major cultural impact.

You know a musical is bad when the two lead actors (Driver and Cotillard) are respected talents who should elevate the material, but hardly anyone in pop culture is raving about the songs in “Annette,” except the predictable niche audience of Sparks fans. None of the “Annette” filmmakers should pretend that they didn’t want this musical movie to be popular. If they wanted this movie to be underground, they wouldn’t have had corporate behemoth Amazon pay for it, and they wouldn’t have had a splashy world premiere at the 2021 Cannes Film Festival. Simply put: “Annette” looks and sounds like a musical experiment that ultimately stumbles artistically, but some people will still love it because they’re star-struck by the famous people involved in making this movie.

Amazon Studios released “Annette” in select U.S. cinemas on August 6, 2021. Prime Video premiered the movie on August 20, 2021.

Review: ‘In the Heights,’ starring Anthony Ramos, Corey Hawkins, Leslie Grace, Melissa Barrera, Olga Merediz, Daphne Rubin-Vega and Jimmy Smits

May 21, 2021

by Carla Hay

Anthony Ramos and Melissa Barrera (center) in “In the Heights” (Photo by Macall Polay/Warner Bros. Pictures)

“In the Heights” 

Directed by Jon M. Chu

Some language in Spanish with subtitles

Culture Representation: Taking place in New York City’s Washington Heights neighborhood, this movie version of the Tony-winning musical “In the Heights” features a predominantly Hispanic group of characters (with some African Americans and white people) representing the working-class and middle-class.

Culture Clash: A young Dominican American man living in New York City’s Washington Heights is torn between staying in the neghborhood or moving to his family’s native Dominican Republic to re-open his late father’s tiki bar.

Culture Audience: “In the Heights” will appeal primarily to people who are interested in Broadway musicals with contemporary music and movies about Hispanic American culture.

Corey Hawkins and Melissa Grace in “In the Heights” (Photo by Macall Polay/Warner Bros. Pictures)

The movie adaptation of Lin-Manuel Miranda’s Tony-winning musical “In the Heights” brings a cinematic vibrancy that makes it a joy to watch on screen and an instant crowd-pleaser. The movie keeps the main storyline and themes intact from the Broadway show but adds some memorable set designs, eye-popping choreography and impressive visual effects that couldn’t be done in a theater stage production. And this well-cast movie also has standout performances that will be sure to charm fans of the Broadway show as well as win over new fans. The “In the Heights” movie is set to have its world premiere at the 2021 Tribeca Film Festival in New York City.

Directed by Jon M. Chu, “In the Heights” has an adapted screenplay written by Quiara Alegría Hudes, who wrote the book for Broadway’s “In the Heights,” which takes place in New York City’s Washington Heights neighborhood. The movie version of “In the Heights” keeps the same songs from the stage musical, whose music and lyrics were written by Miranda. The movie is updated to include more social-awareness themes related to Dreamers, the nickname for undocumented children of undocumented immigrants living in the United States.

The “In the Heights” movie, just like the stage musical, combines several character storylines in a tale that ultimately adds up to love in many different forms. There’s the love that 29-year-old protagonist/bodega owner Usnavi de la Vega (played by Anthony Ramos) has for his family, his Washington Heights neighborhood and his family’s native Dominican Republic. During the course of the story, he also falls in love with aspiring fashion designer Vanessa (played by Melissa Barrera), who also lives in Washington Heights. Usnavi is somewhat shy around assertive Vanessa, who plays hard to get, but eventually Vanessa falls for Usnavi too.

Romance is also in the air for car dispatch operator Benny (played by Corey Hawkins) and college student Nina Rosario (played by Leslie Grace), who has come home to Washington Heights while on a break from her studies at California’s Stanford University. Benny is easygoing and respectful, while Nina is intelligent and compassionate. Nina’s strong-willed and doting father also happens to be Benny’s boss: Rosario’s Car Service owner Kevin Rosario (played by Jimmy Smits), who is immensely proud that his daughter is a Stanford student, and he will do what it takes to pay her university tuition.

The beloved “grandmother” of the neighborhood is Abuela Claudia (played by Olga Merediz), who doesn’t have kids of her own, but she has a nuturing, maternal attitude toward many people in Washington Heights. Claudia is particularly close to Usnavi, whose parents are deceased. Usnavi, who is an only child, moved to the U.S. with his parents when he was 8 years old. And since his parents’ death, Usnavi has become even closer to Claudia. Meanwhile, Usnavi has also known Nina for several years, and he treats Nina like she’s his younger sister.

Usnavi is a mentor to his smart and wisecracking teenage cousin Sonny (played by Gregory Diaz IV), who works part-time in Usnavi’s bodega. Sonny needs a mentor because he has an alcoholic father named Gapo (played by Marc Anthony), who is the brother of Usnavi’s father. A local attorney named Alejandro (played by Mateo Gomez) plays a key role in facilitating what becomes Usnavi’s dream: to move back to the Dominican Republic and re-open a beachfront tiki bar called El Suenito that used to be owned by Usnavi’s late father.

Rounding out the story’s main characters are “The Salon Ladies,” a trio of sassy and opinionated beauty salon workers: Daniela (played by Daphne Rubin-Vega), who is the salon’s owner; Carla (played by Stephanie Beatriz), who is Daniela’s much-younger live-in lover; and Cuca (played by Dascha Polanco), who is their loyal sidekick friend. Vanessa works in the salon too, but she’d rather be a fashion designer. A graffiti artist named Graffiti Pete (played by Noah Catala) is one of Usnavi’s friends. There’s also a character named Pike Phillips (played by Patrick Page), who owns a dry cleaning business next door to Rosario’s Car Service, and he plays a role that affects the fate of a few of the characters’ fortunes.

“In the Heights” creator Miranda has a small role in the movie as a sarcastic street vendor named Piragüero, who sells piragua/shaved ice. Keep watching through the movie’s ending credits to see a comical scene of Miranda’s Piragüero getting into a spat with a Mr. Softee ice cream truck driver, played by Christopher Jackson, who is Miranda’s best friend and longtime Broadway co-star. It’s an example of the touches of humor in an otherwise dramatic story.

The movie begins with Usnavi in a tropical beach setting, telling four kids (about 4 to 6 years old) the story about his life in Washington Heights. The four children are Iris (played by Olivia Perez), Rosa (played by Analia Gomez), Sedo (played by Dean Vazquez) and Migo (played by Mason Vazquez). The kids are very attentive and adorable. But it’s clear that Iris is the most intelligent and inquisitive out of all of them.

Usnavi’s story is about the sweltering summer when he decided he was going to move back to the Dominican Republic and re-open El Suenito. What follows is an immersive, rollercoaster ride of a story, with plenty of joy, heartbreak, fear and love. It begins with various cast members performing “In the Heights,” in an epic sequence where viewers are introduced to Usnavi’s life in Washington Heights and all the people he’s close to in the neighborhood.

Other tunes performed by cast members in the movie are “Benny’s Dispatch,” “Breathe,” “You’ll Be Back” “No Me Diga,” “It Won’t Be Long Now,” “Cuando Llega el Tren,” “96,000,” “Piragua,” “Always,” “When You’re Home,” “The Club,” “Blackout,” “Paciencia Y Fe,” “Carnaval Del Barrio,” “Alabanza,” “Champagne,” “When the Sun Goes Down,” “Home All Summer” and “Finale.” Some of set designs for “In the Heights” are a visual treat and enhance these musical numbers. Two examples that are highlights are the massive synchronized swimming scene in a public swimming pool for “96,000,” and when Benny and Nina (with the help of visual effects) duet on “When You’re Home” with some gymnast-like moves on the side of an apartment building.

An electrical blackout happens in the middle of this summer heatwave. The movie has a timetable of events before and after the blackout. It’s a blackout that changes the lives of the characters, some more dramatically than others.

“In the Heights” is rich with Hispanic culture and doesn’t shy away from uncomfortable topics. Dominicans, Puerto Ricans, Cubans, Mexicans and people from Central and South America are celebrated in some way in the movie. And Usnavi’s desire to move back to the Dominican Republic is indicative of not only honoring his family but also reconnecting with his Dominican roots.

Nina represents the experience of people from Hispanic families who are the first to get a chance to graduate from a prestigious university in the United States. On the one hand, Nina is considered an exalted role model for the community and has all the pressures that come with it. On the other hand, Nina describes the pain of racism and not feeling like she fits in a privileged, predominantly white setting such as Stanford.

During a few of the movie’s more poignant scenes, Nina describes how her Stanford experience isn’t as glamorous as people in Washington Heights might think it is. Nina talks about how she was wrongfully accused of theft by her white Stanford roommate. And on another occasion, Nina attended a diversity dinner at Stanford, and someone wrongfully assumed that she was one of the servers.

All of the cast members are admirable in their roles, but the standouts are Ramos, Grace and Merediz, whose characters go through the biggest emotional arcs in the movie. Merediz’s performance of “Paciencia Y Fe” will simply give people chills. It’s the type of scene that will have audiences moved to applaud and cheer loudly. Grace is also a very talented singer/actress who can convincingly portray feelings without over-emoting like someone performing on a theater stage.

And as the story’s protagonist/narrator Usnavi, Ramos carries the movie with charm and vulnerability. He’s not super-confident when courting Vanessa, and he’s often teased about his insecurities by his observant cousin Sonny. For the two big romances in the movie (Usnavi and Vanessa; Benny and Nina), it isn’t about whether or not these two couples will get together. It’s more about if they can stay together, considering that they have long-distance issues that could wreck their relationships.

Whether or not people got a chance to see “In the Heights” on stage, the movie is a lively celebration in its own right. It’s a story with universal and relevant themes that can be understood by people of any generation. And the movie brings new dimensions and nuances to the story that will inspire people to see it multiple times, preferably on the biggest screen possible.

Warner Bros. Pictures will release “In the Heights” in U.S. cinemas and on HBO Max on June 10, 2021. The release date was moved up from June 11, 2021.

2020 Tony Awards: ‘Jagged Little Pill’ is the top nominee

October 15, 2020

by Carla Hay

Tony Awards logo

 

With 15 nods, including Best Musical, “Jagged Little Pill” is the top nominee for the 74th annual Tony Awards, which will be webcast in a virtual ceremony on a date and time to be announced. Due to the COVID-19 pandemic, the 2020 Tony Awards (which are traditionally held in June) were postponed from its original date of June 7. CBS, which usually telecasts the Tony Awards in the U.S., is not going to be involved in the Tony Awards this year. It has not been announced yet if there will be a host for the ceremony. The Tony Awards are presented by the American Theatre Wing and the Broadway League.

As of March 12, 2020, all Broadway shows have been shut down until further notice. The re-opening date for Broadway shows has been tentatively set for May 31, 2021, but that date could change. One thing is clear: The traditional eligibility period for the 2021 Tony Awards (June 2020 to May 2021) has now been completely wiped out, since there will be no Broadway shows playing during this eligibility period.*

*[June 1, 2021 UPDATE: CBS has announced that it will televise the 2021 Tony Awards on September 26, 2021. Paramount+ will have the ceremony available for streaming.]

Tony-winning “Aladdin” musical star James Monroe Iglehart announced the nominations for the 2020 Tony Awards on a webcast on October 15, 2020. Even before the shutdowns, “Jagged Little Pill” had been expected to be a top contender. The critically acclaimed musical, which opened on Broadway in December 2019, features songs from Alanis Morissette’s Grammy-winning 1995 multiplatinum album “Jagged Little Pill.” The “Jagged Little Pill” musical is about a suburban family with serious personal problems, such as addiction and sexual assault.

Following close behind in nominations, with 14 nods, is “Moulin Rouge! The Musical,” which is based on the 2001 original musical movie. Earning 12 nominations each are “Slave Play” and “Tina — The Tina Turner Musical.” Rounding out the top five nominated shows is the play “The Inheritance,” which has 11 nominations.

Because of the COVID-19 shutdown of Broadway shows, many of the 2020 Tony Awards categories have less nominees than usual. Some categories (including Best Musical and Best Revival of a Play) that normally have five nominations each have three or less nominations for the category this year. In the category for Best Performance by an Actor in a Leading Role in a Musical, there is only one nominee: Aaron Tveit of “Moulin Rouge! The Musical,” which makes him the default winner.

This year’s three Tony Award nominations for Best Musical are all “jukebox musicals” adapted from previous work: In addition to “Jagged Little Pill,” the other nominations in the category are “Moulin Rouge! The Musical” and “Tina — The Tina Turner Musical,” which features a catalogue of well-known Tina Turner songs. Therefore, these three musicals are not eligible for Best Original Score (Music and/or Lyrics) Written for the Theatre.

However, “Jagged Little Pill,” “Moulin Rouge! The Musical” and “Tina — The Tina Turner Musical” are competing against each other in nine categories: Best Musical, Best Book of a Musical, Best Performance by an Actress in a Leading Role in a Musical, Best Scenic Design of a Musical, Best Costume Design of a Musical, Best Lighting Design of a Musical, Best Direction of a Musical, Best Choreography and Best Orchestrations.

“Slave Play,” the play with the most Tony nominations in 2020, is competing in several categories with “The Inheritance,” “A Soldier’s Play” (which garnered seven nominations), “The Sound Inside” (which has six nods) and “A Christmas Carol,” which scored five nominations.

Here is the complete list of nominations for the 2020 Tony Awards:

Best Play

Grand Horizons

Author: Bess Wohl
Producers: Second Stage Theater, Carole Rothman, Williamstown Theatre Festival, Mandy Greenfield

The Inheritance

Author: Matthew López
Producers: Tom Kirdahy, Sonia Friedman Productions, Hunter Arnold, Elizabeth Dewberry & Ali Ahmet Kocabiyik, 1001 Nights Productions, Robert Greenblatt, Mark Lee, Peter May, Scott Rudin, Richard Winkler, Bruce Cohen, Mara Isaacs, Greg Berlanti & Robbie Rogers, Brad Blume, Burnt Umber Productions, Shane Ewen, Greenleaf Productions, Marguerite Hoffman, Oliver Roth, Joseph Baker/Drew Hodges, Stephanie P. McClelland, Broadway Strategic Return Fund, Caiola Productions, Mary J. Davis, Kayla Greenspan, Fakston Productions, FBK Productions, Sally Cade Holmes, Benjamin Lowy, MWM Live, Lee & Alec Seymour, Lorenzo Thione, Sing Out, Louise! Productions, AB Company/Julie Boardman, Adam Zell & Co/ZKM Media, Jamie deRoy/Catherine Adler, DeSantis-Baugh Productions/Adam Hyndman, Gary DiMauro/Meredith Lynsey Schade, John Goldwyn/Silva Theatrical Group, Deborah Green/Christina Mattsson, Cliff Hopkins/George Scarles, Invisible Wall Productions/Lauren Stein, Sharon Karmazin/Broadway Factor NYC, Brian Spector/Madeleine Foster Bersin, Undivided Productions/Hysell Dohr Group, Ushkowitzlatimer Productions/Tyler Mount, The Young Vic

Sea Wall/A Life

Author: Simon Stephens & Nick Payne
Producers: Nine Stories, Ambassador Theatre Group, Seaview Productions, Benjamin Lowy Productions, LFG Theatrical, Audible, Gavin Kalin Productions, Glass Half Full Productions, Jacob Langfelder, Brian Moreland, Roth-Manella Productions, Salman Vienn Al-Rashid Friends, SLSM Theatricals, Teresa Tsai, Dunetz Restieri Productions, Morwin Schmookler, Jane & Mark Wilf, The Public Theater, Oskar Eustis, Patrick Willingham, Mandy Hackett

Slave Play

Author: Jeremy O. Harris
Producers: Seaview Productions, Troy Carter, Level Forward, Nine Stories, Sing Out, Louise! Productions, Shooting Star Productions, Roth-Manella Productions, Carlin Katler Productions, Cohen Hopkins Productions, Thomas Laub, Blair Russell, WEB Productions, Salman Al-Rashid, Jeremy O. Harris, Mark Shacket, New York Theatre Workshop

The Sound Inside

Author: Adam Rapp
Producers: Jeffrey Richards, Lincoln Center Theater, Rebecca Gold, Evamere Entertainment, Eric Falkenstein, Salman Vienn Al-Rashid, Spencer Ross, FilmNation Entertainment/Faliro House, Iris Smith, Jane Bergère, Caiola Productions, Mark S. Golub and David S. Golub, Ken Greiner, Gemini Theatrical Investors, Scott H. Mauro, Jayne Baron Sherman, CZEKAJ Productions, Wendy Morgan-Hunter, Kristin Foster, Brian Moreland, Sonia Mudbhatkal, Jacob Soroken Porter, Williamstown Theatre Festival, Mandy Greenfield


Best Musical

Jagged Little Pill

Producers: Vivek J. Tiwary, Arvind Ethan David, Eva Price, Caiola Productions, Level Forward & Abigail Disney, Geffen Playhouse-Tenenbaum-Feinberg, James L. Nederlander, Dean Borell Moravis Silver, Stephen G. Johnson, Concord Theatricals, Bard Theatricals, M. Kilburg Reedy, 42nd.club, Betsy Dollinger, Sundowners, The Araca Group, Jana Bezdek, Len Blavatnik, BSL Enterprises, Burnt Umber Productions, Darren DeVerna & Jeremiah Harris, Daryl Roth, Susan Edelstein, FG Productions, Sue Gilad & Larry Rogowsky, Harmonia, John Gore Theatrical Group, Melissa M. Jones & Barbara H. Freitag, Stephanie Kramer, Lamplighter Projects, Christina Isaly Liceaga, David Mirvish, Spencer B. Ross, Bellanca Smigel Rutter, Iris Smith, Jason Taylor & Sydney Suiter, Rachel Weinstein, W.I.T. Productions/Gabriel Creative Partners, Independent Presenters Network, Universal Music Publishing Group, Jujamcyn Theaters, Tamar Climan, American Repertory Theater

Moulin Rouge! The Musical

Producers: Carmen Pavlovic, Gerry Ryan, Global Creatures, Bill Damaschke, Aaron Lustbader, Hunter Arnold, Darren Bagert, Erica Lynn Schwartz/Matt Picheny/Stephanie Rosenberg, Adam Blanshay Productions/Nicolas & Charles Talar, Iris Smith, Aleri Entertainment, CJ ENM, Sophie Qi/Harmonia Holdings, Baz & Co./Len Blavatnik, AF Creative Media/International Theatre Fund, Endeavor Content, Tom & Pam Faludy, Gilad-Rogowsky/Instone Productions, John Gore Organization, MEHR-BB Entertainment GmbH, Spencer Ross, Nederlander Presentations/IPN, Eric Falkenstein/Suzanne Grant, Jennifer Fischer, Peter May/Sandy Robertson, Triptyk Studios, Carl Daikeler/Sandi Moran, DeSantis-Baugh Productions, Red Mountain Theatre Company/42nd.club, Candy Spelling/Tulchin Bartner, Roy Furman, Jujamcyn Theaters

Tina — The Tina Turner Musical

Producers: Stage Entertainment, James L. Nederlander, Tali Pelman, Feste Investments B.V., David Mirvish, Nattering Way, TEG Dainty, Katori Hall, Mark Rubinstein LTD, Warner Chappell, Peter May, Eva Price, No Guarantees, Caiola Productions, Jamie deRoy, Wendy Federman, Roy Furman, Independent Presenters Network, John Gore Organization, Marc Levine, Carl Moellenberg, Al Nocciolino, Catherine Adler, Tom Perakos, Iris Smith, Candy Spelling, Anita Waxman, Daryl Roth, Sony/ATV Music Publishing, Universal Music Publishing Group, Tina Turner


Best Revival of a Play

Betrayal

Producers: Ambassador Theatre Group Productions, Benjamin Lowy Productions, Gavin Kalin Productions, Glass Half Full Productions, AnnaPurna Theatre, Hunter Arnold, Burnt Umber Productions, Rashad V. Chambers, Eilene Davidson Productions, KFF Productions, Dominick LaRuffa, Jr., Stephanie P. McClelland, Richard Winkler/Alan Shorr, The Jamie Lloyd Company

Frankie and Johnny in the Clair de Lune

Author: Terrence McNally
Producers: Hunter Arnold, Debbie Bisno, Tom Kirdahy, Elizabeth Dewberry & Ali Ahmet Kocabiyik, Broadway Strategic Return Fund, Caiola Productions, FedermanGold Productions, Invisible Wall Productions, John Gore Organization, Mike Karns, Kilimanjaro Theatricals, Peter May, Tyler Mount, Seriff Productions, Silva Theatrical Group, Cliff Bleszinski/GetterLazarDaly, Jamie deRoy/Gary DiMauro, Suzi Dietz & Lenny Beer/Sally Cade Holmes, Barbara H. Freitag/Ken Davenport, Barry & Kimberly Gowdy/Mabee Family Office, Kayla Greenspan/Jamie Joeyen-Waldorf, John Joseph/Broadway Factor, Tilted Windmills/John Paterakis, The Shubert Organization

A Soldier’s Play

Author: Charles Fuller
Producers: Roundabout Theatre Company, Todd Haimes, Julia C. Levy, Sydney Beers, Steve Dow


Best Book of a Musical

Jagged Little Pill

Diablo Cody

Moulin Rouge! The Musical

John Logan

Tina — The Tina Turner Musical

Katori Hall, Frank Ketelaar and Kees Prins


Best Original Score (Music and/or Lyrics) Written for the Theatre

A Christmas Carol

Music: Christopher Nightingale

The Inheritance

Music: Paul Englishby

The Rose Tattoo

Music: Fitz Patton and Jason Michael Webb

Slave Play

Music: Lindsay Jones

The Sound Inside

Music: Daniel Kluger


Best Performance by an Actor in a Leading Role in a Play

Ian Barford, Linda Vista
Andrew Burnap, The Inheritance
Jake Gyllenhaal, Sea Wall/A Life
Tom Hiddleston, Betrayal
Tom Sturridge, Sea Wall/A Life
Blair Underwood, A Soldier’s Play


Best Performance by an Actress in a Leading Role in a Play

Joaquina Kalukango, Slave Play
Laura Linney, My Name is Lucy Barton
Audra McDonald, Frankie and Johnny in the Clair de Lune
Mary-Louise Parker, The Sound Inside


Best Performance by an Actor in a Leading Role in a Musical

Aaron Tveit, Moulin Rouge! The Musical


Best Performance by an Actress in a Leading Role in a Musical

Karen Olivo, Moulin Rouge! The Musical
Elizabeth Stanley, Jagged Little Pill
Adrienne Warren, Tina — The Tina Turner Musical


Best Performance by an Actor in a Featured Role in a Play

Ato Blankson-Wood, Slave Play
James Cusati-Moyer, Slave Play
David Alan Grier, A Soldier’s Play
John Benjamin Hickey, The Inheritance
Paul Hilton, The Inheritance


Best Performance by an Actress in a Featured Role in a Play

Jane Alexander, Grand Horizons
Chalia La Tour, Slave Play
Annie McNamara, Slave Play
Lois Smith, The Inheritance
Cora Vander Broek, Linda Vista


Best Performance by an Actor in a Featured Role in a Musical

Danny Burstein, Moulin Rouge! The Musical
Derek Klena, Jagged Little Pill
Sean Allan Krill, Jagged Little Pill
Sahr Ngaujah, Moulin Rouge! The Musical
Daniel J. Watts, Tina — The Tina Turner Musical


Best Performance by an Actress in a Featured Role in a Musical

Kathryn Gallagher, Jagged Little Pill
Celia Rose Gooding, Jagged Little Pill
Robyn Hurder, Moulin Rouge! The Musical
Lauren Patten, Jagged Little Pill
Myra Lucretia Taylor, Tina — The Tina Turner Musical


Best Scenic Design of a Play

Bob Crowley, The Inheritance
Soutra Gilmour, Betrayal
Rob Howell, A Christmas Carol
Derek McLane, A Soldier’s Play
Clint Ramos, Slave Play


Best Scenic Design of a Musical

Riccardo Hernández and Lucy Mackinnon, Jagged Little Pill
Derek McLane, Moulin Rouge! The Musical
Mark Thompson and Jeff Sugg, Tina — The Tina Turner Musical


Best Costume Design of a Play

Dede Ayite, Slave Play
Dede Ayite, A Soldier’s Play
Bob Crowley, The Inheritance
Rob Howell, A Christmas Carol
Clint Ramos, The Rose Tattoo


Best Costume Design of a Musical

Emily Rebholz, Jagged Little Pill
Mark Thompson, Tina — The Tina Turner Musical
Catherine Zuber, Moulin Rouge! The Musical


Best Lighting Design of a Play

Jiyoun Chang, Slave Play
Jon Clark, The Inheritance
Heather Gilbert, The Sound Inside
Allen Lee Hughes, A Soldier’s Play
Hugh Vanstone, A Christmas Carol


Best Lighting Design of a Musical

Bruno Poet, Tina — The Tina Turner Musical
Justin Townsend, Jagged Little Pill
Justin Townsend, Moulin Rouge! The Musical

Best Sound Design of a Play

Paul Arditti & Christopher Reid, The Inheritance
Simon Baker, A Christmas Carol
Lindsay Jones, Slave Play
Daniel Kluger, Sea Wall/A Life
Daniel Kluger, The Sound Inside

Best Sound Design of a Musical

Jonathan Deans, Jagged Little Pill
Peter Hylenski, Moulin Rouge! The Musical
Nevin Steinberg, Tina — The Tina Turner Musical


Best Direction of a Play

David Cromer, The Sound Inside
Stephen Daldry, The Inheritance
Kenny Leon, A Soldier’s Play
Jamie Lloyd, Betrayal
Robert O’Hara, Slave Play


Best Direction of a Musical

Phyllida Lloyd, Tina — The Tina Turner Musical
Diane Paulus, Jagged Little Pill
Alex Timbers, Moulin Rouge! The Musical


Best Choreography

Sidi Larbi Cherkaoui, Jagged Little Pill
Sonya Tayeh, Moulin Rouge! The Musical
Anthony Van Laast, Tina – The Tina Turner Musical


Best Orchestrations

Tom Kitt, Jagged Little Pill
Katie Kresek, Charlie Rosen, Matt Stine and Justin Levine, Moulin Rouge! The Musical
Ethan Popp, Tina — The Tina Turner Musical

*   *   *


Tony Nominations by Production

Jagged Little Pill – 15

Moulin Rouge! The Musical – 14

Slave Play – 12

Tina – The Tina Turner Musical – 12

The Inheritance – 11

A Soldier’s Play – 7

The Sound Inside – 6

A Christmas Carol – 5

Betrayal – 4

Sea Wall/A Life – 4

Frankie and Johnny in the Clair de Lune – 2

Grand Horizons – 2

Linda Vista – 2

The Rose Tattoo – 2

My Name is Lucy Barton – 1

Review: ‘Black Is King,’ starring Beyoncé

July 31, 2020

by Carla Hay

Beyoncé in “Black Is King” (Photo courtesy of Disney+/Parkwood Entertainment)

“Black Is King” 

Directed by Beyoncé, Kwasi Fordjour, Emmanuel Adjei, Blitz Bazawule, Pierre Debusschere, Jenn Nkiru, Ibra Ake, Dikayl Rimmasch and Jake Nava

Culture Representation: This visual album of Beyoncé’s original songs for the 2019 “The Lion King: The Gift” soundtrack features a predominantly black cast (with a few white people, Asians and Latinos) primarily representing life in Africa in a musical format.

Culture Clash:  Many of the songs’ lyrics and the movie’s narration are about pushing back against fear, bigotry and self-doubt.

Culture Audience: Beyoncé fans are the obvious target audience for this movie, but “Black Is King” should also appeal to people who like to see visually stunning musical numbers set to contemporary R&B music.

Beyoncé (center) in “Black Is King” (Photo courtesy of Disney+/Parkwood Entertainment)

People already know that Beyoncé is capable of making a collection of memorable an impactful music videos, so it’s not too much a surprise that she has done it again with “Black Is King,” a visually intoxicating and emotionally empowering movie that celebrates self-confidence and Afro-centric culture.

Whereas Beyoncé’s visual collection for her critically acclaimed 2016 album “Lemonade” was her feminist response to issues going on in her personal life at the time, “Black Is King” is more of a rousing anthem directed at generations of people, especially those whose ethnic roots are in Africa. There are no conversations in “Black Is King,” but the messages are loud and clear.

Because “Black Is King” is a visual representation of Beyoncé’s 2019 soundtrack album “The Lion King: The Gift,” the songs themselves (and some of the music videos) were made available a year before the full “Black Is King” movie was released. But seeing all of these songs together as musical numbers in “Black Is King” puts the soundtrack in a whole new light.

“Black Is King” is not a traditional movie, since there is no real plot. Rather, it’s an atmospheric journey of eye-catching sights, sounds and philosophical thoughts. The choreography? Spectacular. The hair and makeup? Gorgeous.  The costumes? Unforgettable.

Folajomi “FJ” Akinmurele portrays Beyoncé’s fictional son Little Simba throughout “Black Is King.” At the end of the film, this dedication appears on screen: “Dedicated to my son Sir Carter. And to all our sons and daughters, the sun and the moon bow for you. You are the keys to the kingdom.”

The movie has narration that includes lines from the 2019 “The Lion King” movie, which had Beyoncé as the voice of warrior lioness Nala. But the most intriguing narration comes from a script whose credited writers are Beyoncé, Yrsa Daley-Ward, Clover Hope and Andrew Morrow, featuring poetry by Warsan Shire.

James Earl Jones provides the opening voice narration as he intones in “Balance (Mufasa Interlude)”: “Everything that you see exists together in a delicate balance. You need to understand that balance and respect all the creatures, from the crawling creatures to the leaping antelope. We are all connected in the circle of life.”

Beyoncé also voices several messages of Afro-centric pride, including “Black is the color of my true love’s skin” and “Let black be synonymous with glory” and “Black is king. We were beauty before they knew what beauty was.”

There are also calls of empowerment, such as “Life is a set of choices. Lead or be led astray. Follow your light or lose it.” And she also speaks about the importance of representation: “To live without reflection for so long might make you wonder if you even truly exist.”

It wouldn’t be a Beyoncé visual album without cameos. They include members of her immediate family: husband Jay-Z (real name: Shawn Carter); their children Blue Ivy, Sir and Rumi; and Beyoncé’s mother Tina Knowles Lawson. “Brown Skin Girl,” with Saint Jhn and Wizkid featuring Blue Ivy Carter, celebrates inner and outer beauty and includes visual appearances by Naomi Campbell, Lupita Nyong’o and Kelly Rowland, who is one of the original members of Destiny’s Child with Beyoncé. Jay-Z, Knowles Lawson and Rowland can also be seen in “Mood 4 Eva.”

And several artists on the audio soundtrack can be seen in “Black Is King,” including Jessie Reyez (“Scar)”; Nija, Busiswa, Yemi Alade, Tierra Whack and Moonchild Sanelly (“My Power” ); Shatta Wale (“Already”); Tiwa Savage and Mr Eazi (“Keys to the Kingdom”); and Salatiel and Pharrell Williams (“Water”).  Meanwhile, Beyoncé hands over the spotlight to Lord Afrixana, Yemi Alade and Mr Eazi, who perform “Don’t Jealous Me.”

Noticeably absent from “Black Is King” are Kendrick Lamar, Major Lazer and Childish Gambino (also known as Donald Glover, the voice of adult Simba in 2019’s “The Lion King”), who are featured artists on the audio soundtrack’s songs but don’t make visual appearances in the “Black Is King” movie. Lamar can be heard on the duet track “Nile,” while Major Lazer is featured on “Already.” Childish Gambino/Glover is a featured artist on “Mood 4 Eva.”

Speaking of “Mood 4 Eva,” it’s one of the highlights of “Black Is King” and it has explosion of beauty that’s both raw and luxurious. (And there’s also a scene of Beyoncé and Jay-Z holding hands that’s reminiscent of their famous 2018 “Apeshit” video that was filmed in the Louvre Museum.) “Don’t Jealous Me,” another standout segment, conjures up African tribal imageries that includes giant yellow python around the neck of certain people, including Beyoncé. “Water” is pure glam, with Beyoncé in outfits ranging from a stunning magenta gown to flared ’70s-styled denim with Rapunzel-length hair.

Although “The Lion King” takes place in Africa, and “Black Is King” is very Afro-centric, “Black Is King” was actually filmed around the world: Africa, New York, Los Angeles, London and Belgium. However, the movie prominently several African actors in the story segments, including Folajomi Akinmurele, Connie Chiume, Nyaniso Ntsikelelo Dzedze, Nandi Madida, Warren Masemola, Sibusiso Mbeje, Fumi Odede, Stephen Ojo and Mary Twala.

Not everyone likes Beyoncé’s music. Not everyone likes the 2019 movie version of “The Lion King.” However, “Black Is King” is a perfect example of why Beyoncé is a superb entertainer who’s a major influence on pop culture while speaking out on issues that are important to her.

Disney+ premiered “Black Is King” in July 31, 2020.

Review: ‘Eurovision Song Contest: The Story of Fire Saga,’ starring Will Ferrell and Rachel McAdams

June 26, 2020

by Carla Hay

Will Ferrell and Rachel McAdams in “Eurovision Song Contest: The Story of Fire Saga” (Photo by John Wilson/Netflix)

Culture Representation: Taking place in Iceland and Scotland, the musical comedy “Eurovision Song Contest: The Story of Fire Saga” has a predominantly white cast (with some black people, Asians and Latinos) representing the middle-class and wealthy.

Culture Clash: An Icelandic male/female pop-music duo called Fire Saga aspire to on the annual Eurovision Song Contest, but they come up against naysayers in their home country as well as competitors from other countries.

Culture Audience: “Eurovision Song Contest: The Story of Fire Saga” will appeal primarily to fans of stars Will Ferrell and Rachel McAdams, as well as to people who like good-natured satires of fame seekers and hokey TV talent contests.

Dan Stevens in “Eurovision Song Contest: The Story of Fire Saga” (Photo by John Wilson/Netflix)

“Eurovision Song Contest: The Story of Fire Saga” is an entertaining parody of the famous annual Eurovision Song Contest that feels retro and contemporary at the same time. The contest, which began in 1956 and is televised in numerous countries, has singers (usually performing pop music) competing from different countries around the world, as a sort of an Olympics for aspiring music stars. Will Ferrell and Rachel McAdams portray the earnest but naïve Lars Erickssong and Sigrit Ericksdottir, a musical duo from Iceland who perform under the stage name Fire Saga. Ferrell, who co-wrote the original screenplay with Andrew Steele, is one of the producers of this comedy. And it’s one of Ferrell’s best movies in years.

Although “Eurovision Song Contest: The Story of Fire Saga” (directed by David Dobkin) takes place in the present day, a lot of the musical sensibilities and costumes seem to be stuck in a previous decade, especially the 1980s or 1990s. The movie’s running joke, although not explicitly stated, is that certain parts of Europe are “behind the times” in pop music, because these countries rarely produce groundbreaking pop superstars on a worldwide level. Therefore, the performers who represent these countries at Eurovision are often ridiculed by Eurovision haters for looking and sounding outdated.

The trailer for “Eurovision Song Contest: The Story of Fire Saga” already shows that Fire Saga made it to the contest. Therefore, the first third of this 123-minute movie has no suspense, since it’s all about the obstacles that Fire Saga encounters in the quest to make it to Eurovision. Iceland has never had a Eurovision winner, so that immediately makes Fire Saga the ultimate underdog act.

The movie begins in Húsavík, Iceland, on April 6, 1974, when a pre-teen Lars (played by Alfie Melia), his stern widower father Erick (played by Pierce Brosnan) and other members of the family are watching Eurovision in the living room. The Swedish pop group ABBA is performing “Waterloo,” and Lars is transfixed. (ABBA won Eurovision that year and has remained Eurovision’s most famous winning act.)

As Lars dances along to ABBA performing on TV, he announces to his family that someday, he’s going to be a contestant on Eurovision. Several people scoff at the idea, including Erick, who says he’d rather be dead than to have his son sing and dance on Eurovision. Well, you know what that means.

About 45 years later, Lars is still living with his father, who makes a living as a fisherman, while Lars has a job giving parking tickets. Lars and his musical partner Sigrit (who is a music teacher) are longtime friends. They are singers and multi-instrumentalists, but they’ve been floundering in the dead-end local music scene. Fire Saga’s music “career” consists of rehearsing in the basement of Erick’s house and performing at a small local bar.

A running joke in the movie is that the patrons of this bar don’t want to hear any Fire Saga original songs (such as the trash-tastic “Volcano Man”) and would rather hear Fire Saga perform a very childish, nonsensical tune called “Jaja Ding Dong.” The audience is so fanatical about “Jaja Ding Dong” that they will often demand that Fire Saga perform it more than once in a single set. Is it any wonder that Lars and Sigrit think Eurovision will be their ticket out of this backwards town?

Erick isn’t the only one who thinks Lars is a loser and that it’s a delusional lost cause for Fire Saga to be on Eurovision. Sigrit’s single mother Helka (played by Elin Petersdottir) vehemently disapproves of Sigrit chasing this dream and tells Sigrit that she’s wasting her time with Lars. Although it’s not shown in the movie, it’s mentioned that Sigrit used to be mute as a child, until she met Lars and he helped her find her voice through music. And Lars and Sigrit have been friends ever since.

But now that they’re adults, Sigrit wants to be more than friends with Lars, because she’s secretly in love with him. Lars has the maturity level of a teenager (like most characters Farrell tends to play), so Lars is completely oblivious to Sigrit’s true feelings for him. As if to make the point that Lars and Sigrit don’t exude sexual chemistry with each other, throughout the movie, people who meet Lars and Sigrit for the first time mistakenly assume that Lars and Sigrit are brother and sister. Later in the story, when Sigrit and Lars almost kiss romantically, he stops it from happening because he says they can’t ruin their work relationship with a romance, and they have to stay focused on winning Eurovision.

But getting to Eurovision won’t be so easy. First, Fire Saga has to win the Icelandic Song Contest. Neils Brongus (played by Ólafur Darri Ólafsson), the president of Icelandic Public Television, leads a committee in charge of deciding who will be contestants in the Icelandic Song Contest. And he already has a favorite to win: Katiana Lindsdottir (played by Demi Lovato), from Kefalvik, a ready-made pop star with a powerful singing voice.

Neils tells his assembled team after watching Katiana’s audition video: “Without being dramatic, I think it might be the best audition tape we ever had in the history of the Icelandic Song Contest.”  (In the movie, Lovato sings the original song “In the Mirror.”) Compared to Katiana, Fire Saga looks like a bad joke.

Meanwhile, Victor Karlsson (played by Mikael Persbrandt), governor of Central Bank of Iceland, is worried about a contestant from Iceland winning Eurovision, which has a tradition of the winning contestant’s country hosting the contest in the following year. Victor fears that Iceland doesn’t have the infrastructure to accommodate the hundreds of thousands of people who would come to Iceland for Eurovision. And  he thinks that all those visitors during a short period of time could bankrupt Iceland.

Therefore, Victor is not enthusiastic about Katiana or anyone from Iceland winning Eurovision. When Victor expresses his concerns to Neils and the team at Icelandic Public Television, the rest of the group immediately shoots down Victor’s pessimistic prediction, because they think Eurovision coming to Iceland would be great for the Icelandic economy.

Lars’ dream of wining Eurovision becomes even more desperate when he finds himself homeless. His father Erick is having serious financial problems and has a choice to sell his house or sell his boat. Since Erick needs his boat for his fisherman income, he decides to sell the house.

Meanwhile, Sigrit has a quirk that Lars finds a little irritating: She believes in elves and thinks that elves can grant wishes. A recurring joke in the movie is that she visits a group of tiny houses built for elves and offers food and other gifts to the unseen creatures, as a way to entice them to grant her wishes. Two of her biggest wishes are to win Eurovision and to get together with Lars and start a family with him.

Through a series of unpredictable events, Fire Saga ends up representing Iceland at Eurovision, which is being held in Edinburgh, Scotland. How the usually hapless Fire Saga got to Eurovision wasn’t necessarily because Fire Saga was voted the best act, so Iceland’s support is lukewarm at best. Still, Iceland has given Fire Saga enough support that the country has hired a creative team to help Fire Saga win with Fire Saga’s chosen song “Double Trouble.”

The artistic director of this creative team is the very fussy and flamboyant Kevin Swain (played by Jamie Demetriou, in a scene-stealing performance), who sometimes clashes with the creative vision that Lars and Sigrit have for Fire Saga. During Eurovision rehearsals, Lars and Sirgit also meet another flamboyant character: Russian contestant Alexander Lemtov (played by Dan Stevens), a singer who flaunts his wealth and gives the impression that he will sleep with anyone to get them to do what he wants. Alexander’s Eurovision song is called “Lion of Love,” and his bombastic performance of the song includes a homoerotic choreography with male backup dancers wearing skintight gold lamé pants.

Alexander (whose frosted 1980s hairdo is reminiscent of George Michael in his Wham! days) immediately sets his sights on Sigrit to target as a sexual conquest. Meanwhile, Lars attracts the amorous attention of Greek contestant Mita Xenakis (played by Melissanthi Mahut), a singer who’s like a cross between Ariana Grande and Cher. Not surprisingly, some jealousy situations ensue.

In between all of the backstage drama and hilariously tacky performances, the movie has a standout musical ensemble number that takes place at a contestant party thrown by Alexander. In this scene, numerous contestants (including Lars, Sigrit, Alexander and Mita) do an extravagant medley of Cher’s “Believe,” Madonna’s “Ray of Light,” ABBA’s “Waterloo” and the Black Eyed Peas’ “I Gotta Feeling.”

Savan Kotecha, the musical director for this movie, assembled the team that wrote the film’s original songs that were deliberately kitschy. His background in writing and producing hits for real-life pop stars serves this movie very well. Among the hits that Kotecha co-written and co-produced include The Weeknd’s “Can’t Feel My Face,” Grande’s “God Is a Woman,” One Direction’s “What Makes You Beautiful” and Lovato’s “Confident.” The musical score by Atli Örvarsson complements the pop tunes without being overbearing.

The movie’s Eurovision performance scenes, which includes footage from real Eurovision arena shows, are among the comedic highlights of the film. Just when you think an act couldn’t get campier or more pompous, another one comes along to surpass it. Graham Norton (portraying himself) adds an element of satirical realism with his cameo as the sardonic TV commentator for Eurovision.

For “Eurovision Song Contest,” McAdams and Ferrell have reunited with their “Wedding Crashers” director Dobkin, whose previous experience as a music-video director is an asset for this musical movie. As for the singing in the movie, Lovato and Mahut are professional singers in real life, so they did their own vocals. Adams’ vocals were either her own or a combination of McAdams and those of Swedish singer Molly Sandé. Alexander’s operatic singing vocals were provided by Erik Mjönes.

“Eurovision Song Contest: The Story of Fire Saga” has plenty of lowbrow jokes that are actually laugh-out-loud funny. For example, there are several penis jokes and jokes about naked men in the movie. The jokes are crude but not offensive. In one scene, Lars comments: “I think of my penis like a Volvo—solid, sturdy, dependable, but not going to turn any heads.” Comedy is all about delivery, and Ferrell delivers the line in such a good natured, self-deprecating way, that it will make people laugh.

The movie doesn’t just poke fun at tacky aspiring pop stars from Europe. Americans are also the butt of many jokes in the film. During the course of the movie, Lars and Sigrit keep encountering the same group of college-age American tourists. Lars makes it known that he dislikes Americans, by taunting the tourists with the worst “ugly American” stereotypes. His insults aren’t too far off from how many non-Americans perceive Americans.

Make no mistake: “Eurovision Song Contest: The Story of Fire Saga” is by no means an Oscar-worthy movie. (Ferrell has never starred in that type of movie anyway.) But it is a cut above some of the stinkers that Ferrell has been headlining in recent years. At its heart, “Eurovision Song Contest” has a sentimentality to it that just might win people over in the way that Fire Saga earnestly tries to charm audiences—not by being the most talented but by being their unapologetically corny selves.

Netflix premiered “Eurovision Song Contest: The Story of Fire Saga” on June 26, 2020.

HBO Max adds ‘Young Sheldon’ and ‘Homeschool Musical: Class of 2020’ to programming lineup

May 29, 2020

Iain Armitage in “Young Sheldon” (Photo by Robert Voets/CBS)

The following is a combination of press releases from HBO Max:

HBO Max — the upcoming WarnerMedia streaming platform that launched this week — has acquired the exclusive U.S. subscription-video-on-demand rights to the hit comedy Young Sheldon in a deal with Warner Bros. Domestic Television Distribution. HBO Max is also the streaming home of the entire library of The Big Bang Theory, the longest-running multicamera comedy in television history; all 279 episodes of Big Bang are available on the streamer now.

“We now feel like our Big Bang offering is complete,” said Kevin Reilly, chief content officer, HBO Max, president TNT, TBS, and TruTV. “We are so proud to be the home of this beloved franchise and the place where new and existing fans can learn about young Sheldon Cooper’s roots.”

“In order for Sheldon Cooper to visit his younger self, he would need to manipulate spacetime. All you actually need is HBO Max,” said Young Sheldon creators/executive producers Chuck Lorre and Steven Molaro. “We are so pleased that Young Sheldon will once again be reunited with his future self on HBO Max, and we are excited for fans, new and old, to be able to binge both The Big Bang Theory and Young Sheldon for the first time.”

Young Sheldon is currently the number-one comedy on network television with total viewers, Teens, and all key 25-54 demos. The series has averaged more than 11.4 million viewers per week during the 2019–20 season to date (11,424,000 actual P2+), according to Most Current ratings information from Nielsen, +34% more viewers than the next-largest comedy with total viewers.

For 12 years on The Big Bang Theory, audiences came to know the iconic, eccentric and extraordinary Sheldon Cooper. The single-camera, half-hour comedy Young Sheldon gives viewers the chance to meet him in childhood, as he embarks on his innocent, awkward and hopeful journey toward the man he will become.

For young Sheldon Cooper, it isn’t easy growing up in East Texas. Being a once-in-a-generation mind capable of advanced mathematics and science isn’t always helpful in a land where church and football are king. And while the vulnerable, gifted and somewhat naïve Sheldon deals with the world, his very normal family must find a way to deal with him. His father, George, is struggling to find his way as a high school football coach and as father to a boy he doesn’t understand.  Sheldon’s mother, Mary, fiercely protects and nurtures her son in a town where he just doesn’t fit in. Sheldon’s older brother, Georgie, does the best he can in high school, but it’s tough to be cool when you’re in the same classes with your odd 9-year-old brother. Finally, there’s Sheldon’s twin sister, Missy, who sometimes resents all the attention Sheldon gets, but also remains the one person who can reliably tell Sheldon the truth.

From Chuck Lorre Productions, Inc. in association with Warner Bros. Television, Young Sheldon is distributed by Warner Bros. Domestic Television Distribution. The series stars Iain Armitage as Young Sheldon, Zoe Perry, Lance Barber, Montana Jordan, Raegan Revord, with Annie Potts, and Jim Parsons as the voice of Sheldon. Chuck Lorre & Steven Molaro created the show and serve as executive producers with Steve Holland, Jim Parsons and Todd Spiewak.
HBO Max Social
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Laura Benanti (Photo by Jenny Anderson)

HBO Max, the direct-to-consumer offering from WarnerMedia, announced today the greenlight of Homeschool Musical: Class of 2020. Inspired by Tony Award winning actress Laura Benanti’s (“My Fair Lady” and “She Loves Me” on Broadway, Younger, Supergirl, Nashville) online movement #SunshineSongs, in which she offered to be an audience for the students around the country whose spring musicals were cancelled because of COVID-19, this television event will give students the opportunity to sing and dance like the stars they are, from the safety of their homes.

Homeschool Musical: Class of 2020 will explore tried-and-true themes of classic teen movies through the totally unique lens of a world turned upside down by the global pandemic. The cast, featuring a diverse group of super talented student actors with compelling backstories, will play seniors from the same high school and while the pandemic may have shut down their school, the drama and romantic intrigue live on.

“As a mom of teenagers, I know that this time has been a struggle for them. High School seniors in particular have been hit hard by this pandemic, their dreams of homecoming, prom, spring performances and even graduation being cancelled,” said Jennifer O’Connell, executive vice president original non-fiction and kids programming. “Laura’s brilliant idea to give these kids an audience and a platform has blossomed into this unique opportunity for us to not only celebrate their talent, but to entertain many other families across the country sharing their experience.”

“Our school shows are more than just entertainment. At the very least, they bring our communities together to revel in the talent of our young artists. At their best, they are a life changing experience that these kids will bring with them into the rest of their lives,” said Benanti. “I am thrilled that the #SunshineSongs initiative has put the spotlight on so many incredible young performers; grateful to World of Wonder for its grand vision and to HBO MAX for providing a global platform on which America’s youth can shine!”

Homeschool Musical: Class of 2020 is executive produced by Laura Benanti along with Randy Barbato, Fenton Bailey, and Tom Campbell for World of Wonder Productions (RuPaul’s Drag Race), and Leland (Ariana Grande, Selena Gomez, RuPaul’s Drag Race) will write and produce the original songs and score.

About HBO Max 
HBO Max is WarnerMedia’s direct-to-consumer offering. With 10,000 hours of curated premium content anticipated at launch, HBO Max will offer powerhouse programming for everyone in the home, bringing together HBO, a robust slate of new original series, key third-party licensed programs and movies, and fan favorites from Warner Media’s rich library including Warner Bros., New Line, DC, CNN, TNT, TBS, truTV, Turner Classic Movies, Cartoon Network, Adult Swim, Crunchyroll, Rooster Teeth, Looney Tunes and more. Sign up for updates at HBOMax.com.

About WarnerMedia
WarnerMedia is a leading media and entertainment company that creates and distributes premium and popular content from a diverse array of talented storytellers and journalists to global audiences through its consumer brands including: HBO, HBO Now, HBO Max, Warner Bros., TNT, TBS, truTV, CNN, DC, New Line, Cartoon Network, Adult Swim, Turner Classic Movies and others. WarnerMedia is part of AT&T Inc. (NYSE:T).

About Laura Benanti
In the midst of an illustrious career spanning Broadway, film, and television, Tony® Award-winning actress, singer and author, Laura Benanti now brings a longstanding dream to life as she gears up to release her new solo album with Sony Music Masterworks this year. She recently released a single, a cover of “Sucker” along with a moving video donating 100% of her earnings to FoodCorps. Additionally, on the heels of her viral social media campaign, #SunshineSongs, Laura debuted the Sunshine Songs Concert series to bring joy through music to senior living communities, aging loved ones isolated in their homes, children’s hospitals, and beyond. With starring roles on Broadway ranging from the My Fair Lady revival and Steve Martin’s Meteor Shower to She Loves Me, and the title role in Gypsy for which Laura garnered a Tony® Award (one of five career nominations to date). Meanwhile, her performance in Women on the Verge of a Nervous Breakdown garnered her a Drama Desk Award and Outer Critics Circle Award. Simultaneously, she enchanted audiences on the small screen, appearing on Younger, Supergirl, Nashville, The Good Wife, Nurse Jackie and her hilarious portrayal of First Lady Melania Trump on the Late Show with Stephen Colbert (among many others). In addition to films including Worth alongside Michael Keaton, Amy Ryan and Stanley Tucci and the upcoming “Here Today” alongside Billy Crystal and Tiffany Haddish, Laura recently released a hilarious book for Moms (co-written with her friend and Metropolitan Opera Star Kate Mangiameli) entitled “M is for MAMA (and also Merlot): A Modern Mom’s ABCs” available now at Barnes and Noble. Benanti is represented by UTA and Untitled.
About World of Wonder
For more than two decades, award-winning production company World of Wonder has introduced audiences to new worlds, talent and ideas that have shaped culture. Programming highlights include: Emmy® Award winning “RuPaul’s Drag Race” (VH1/Logo), “Million Dollar Listing” LA & NY (Bravo), “Dancing Queen” (Netflix), “Big Freedia: Queen of Bounce” (Fuse), and “Gender Revolution: A Journey with Katie Couric” (National Geographic); award-winning films and documentaries including “Mapplethorpe: Look at the Pictures,” “Menendez: Blood Brothers,” “Inside Deep Throat,” “The Eyes of Tammy Faye,” “I Am Britney Jean,” “In Vogue: The Editor’s Eye,” “Carrie Fisher’s Wishful Drinking,” “Monica in Black and White,” Emmy-winning “The Last Beekeeper,” and Emmy-winning “Out of Iraq.” Seven of WOW’s films have premiered at the Sundance Film festival including “Becoming Chaz” and “Party Monster.” World of Wonder has also created a substantial digital footprint with its YouTube channel WOWPresents (1M+ subs), SVOD digital platform WOW Presents Plus, along with an award-winning blog, The WOW Report. World of Wonder’s bi-annual RuPaul’s DragCon is the world’s largest drag culture convention, welcoming 100,000 attendees across LA and NYC in 2019 and expanding internationally to the UK in 2020. Co-founders Randy Barbato and Fenton Bailey authored The World According to Wonder, celebrating decades of production, which can be found online at http://worldofwonder.net/. Randy and Fenton were honored with the IDA Pioneer Award in December 2014, celebrating exceptional achievement, leadership, and vision in the nonfiction and documentary community, named to Variety’s Reality Leaders List in 2017, and chosen for the OUT100 list in 2018 for their trailblazing work in the LGBTQ+ community. World of Wonder was also selected for Realscreen’s 2018 Global 100 list, which recognizes the top international non-fiction and unscripted production companies working in the industry today. World of Wonder creates out of a historic building/gallery space in the heart of Hollywood.

About Leland
Brett McLaughlin, aka Leland, is a Golden Globe nominated songwriter, composer, executive producer and prominent figure in the LGBTQ+ community who has contributed to some of pop music’s most influential releases of the past few years. As a songwriter, he has collaborated with Selena Gomez (‘Rare’ and ‘Fetish’), Troye Sivan (Youth, Bloom, My My My!, Take Yourself Home), BTS (Louder Than Bombs), Ariana Grande, (Dance To This), Carrie Underwood (End Up With You), Charli XCX (1999), Lauv & Troye Sivan (I’m So Tired) and many more. Mclaughlin composed the score and wrote 12 original songs for the Netflix Original Movie ‘Sierra Burgess Is A Loser’ as well as executive producing the soundtrack. Other projects include composing musicals for the Emmy Award Winning ‘RuPaul’s Drag Race’ and co-writing “Revelation” with Troye Sivan and Jonsi for ‘Boy Erased’, a biographical film about LGBTQ+ conversion therapy.

Review: ‘Valley Girl’ (2020), starring Jessica Rothe, Josh Whitehouse, Logan Paul, Mae Whitman, Jessie Ennis, Chloe Bennet and Alicia Silverstone

May 8, 2020

by Carla Hay

Jessica Rothe and Josh Whitehouse in “Valley Girl” (Photo courtesy of Orion Classics)

“Valley Girl” (2020)

Directed by Rachel Lee Goldenberg

Culture Representation: Taking place in the Los Angeles area, this musical remake of the 1983 romantic comedy “Valley Girl” has a predominantly white cast of characters (with some African Americans, Latinos and Asians) representing the middle-class.

Culture Clash: A sheltered San Fernando Valley “good girl,” who’s about to graduate from high school, has a romance with a “bad boy” musician from Hollywood, much to her friends’ disapproval.

Culture Audience: “Valley Girl” will appeal mostly to fans of the original “Valley Girl” movie or fans of 1980s pop music, but they will probably be disappointed in this musical remake, which is too slick for its own good.

Camila Morrone and Alicia Silverstone in “Valley Girl” (Photo courtesy of Orion Classics)

The 1983 romantic comedy “Valley Girl” (starring Nicolas Cage and Deborah Foreman) is the kind of movie that doesn’t need to be remade/re-imagined/rebooted for a modern audience, because it’s a movie about a particular youth subculture that’s meant to stay in the past and shouldn’t be resurrected. Although the 2020 musical remake of “Valley Girl” (directed by Rachel Lee Goldenberg) wisely chose to make the movie primarily as a flashback memory to the ’80s, almost everything about this musical smacks of an inauthentic, forced recreation of the effortless 1980s charm that made the original “Valley Girl” movie a cult classic.

In the beginning of the “Valley Girl” musical remake, a pouty, young woman named Ruby (played by Camila Morrone), who’s in her early 20s, stumbles out of a nightclub and asks her mother (whom she still lives with) to come pick her up from the club. Ruby is apparently too tipsy to drive and apparently doesn’t want to call a taxi or ride-sharing service. When they get home, Ruby tells her mother Julie (played by Alicia Silverstone) that she’s in a bad mood because she just broke up with her boyfriend.

The mother is supposed to be the Julie Richman character who was the teenage titular protagonist in the original “Valley Girl” movie. Julie is now a middle-aged fashion designer, who has fond and rosy memories of her teenage years in California’s San Fernando Valley, where she still lives.

As a San Fernando Valley teenager in the ’80s, Julie’s life was like a carefree bubble that revolved around school, going to shopping malls (like the famous Sherman Oaks Galleria), dating, hanging out at the beach, and going to parties with other teens, usually at someone’s house. (Frank Zappa’s 1982 song “Valley Girl,” featuring vocals by his then-teenage daughter Moon Unit Zappa, inspired the idea for the 1983 “Valley Girl” movie. The Zappas were not involved in the movie, and Frank Zappa lost a lawsuit that he filed to prevent the film from being made.)

When she was a senior in high school, Julie fell in love for the first time with a slightly older Hollywood rocker named Randy, who was played by Cage in the original “Valley Girl” movie. As for who Ruby’s father is, he’s mentioned but not seen in the “Valley Girl” remake, which reveals at the end of the film whether or not Randy and Julie ended up living happily ever after.

Julie is very sympathetic about her daughter’s boyfriend breakup, but Julie also starts to tell Ruby about the “good old days,” when her name was Julie Richman and she was a very sheltered teenager in the early-to-mid-80s. (Although the original “Valley Girl” was released in 1983, the ’80s music in the “Valley Girl” musical remake was released in or before 1984. Only true music trivia buffs would notice this change in the movie’s soundtrack.)

Julie’s daughter tries to pretend she doesn’t care about her mother’s nostalgic memories, by groaning to her about her boyfriend problems: “You wouldn’t understand!” And that’s when Julie launches into her “let me tell you about when I was young” story. The rest of the movie occasionally cuts back to the middle-aged Julie and her daughter for exposition purposes, but the majority of the film consists of the flashback memories of Julie, with the characters from the ’80s often singing their dialogues, since this is a musical.

Here we go. Get ready for the cheesiness. Although Jessica Rothe as the teenage Julie does a fairly good job as a singer, she is not convincing at all as a naïve, straight-laced high schooler, which is what Julie is supposed to be. Rothe looks like she’s graduated from high school years ago, instead of someone who’s supposed to still be in high school. Putting her in cutesy and frilly ’80s outfits doesn’t make her look like a teenager.

Deborah Foreman, who played the teenage Julie in the original “Valley Girl” had a mix of innocence and sexiness that made her irresistible to a lot of guys in her orbit. Rothe (who was in her early 30s when she made this “Valley Girl” remake) looks like she’s playing dress-up as a teenager. Because she looks way past the age of a student in high school, it looks ridiculous for her to play such a sheltered goody-two shoes teen. It’s not quite as bad of an age miscast as Olivia Newton-John in the movie “Grease,” but it’s pretty close. At least “Grease” was a great musical. This version of “Valley Girl” is most definitely not.

As for “bad boy” rocker Randy, the original “Valley Girl” had Cage playing him as a kind of a misfit weirdo who didn’t care about the social taboos of a sheltered high school girl from the San Fernando Valley dating a “freak” from Hollywood. In this musical version of “Valley Girl,” there’s nothing quirky, dangerous or even edgy about Randy, who’s played by Josh Whitehouse, in a very bland performance and with very limited singing talent.

In this remake, Randy looks more like he wants to be a heartthrob teen idol (like John Stamos was back in the early ’80s), instead of being a slightly scuzzy, down-on-his-luck rocker, which is what the Randy character is supposed to be. Even the tattoos that the Randy character has in this “Valley Girl” remake look fake, because they probably are. Randy in both “Valley Girl” movies is supposed to be slightly older than Julie, which is one of the reasons why their relationship is slightly taboo. While in the original movie, Cage looked the part, Whitehouse actually looks younger than Rothe, which he is in real life.

The nightclub scenes in this remake also don’t look real at all. You can tell it’s a movie set, compared to the original “Valley Girl” which filmed on location at a real nightclub. The nightclub where the original “Valley Girl” was filmed was called The Central back then, but it became more famous in the 1990s when it was renamed the Viper Room. In the original “Valley Girl,” there was a scene with The Plimsouls performing their song “A Million Miles Away” at the club. In the remake, the female rock duo Deap Vally performs the song.

In fact, almost everything about the “Valley Girl” remake  (written by Amy Talkington) feels overly sanitized. It scrubs out all the adult content from the original movie (in other words, some of the funniest scenes) and turns this film into a too-cutesy musical. The only nudity in the remake is when some male students briefly moon someone at the high school. There’s no drug use in the remake, and sex is hinted at but not shown.

The costumes in the “Valley Girl” remake also look very much like costumes (and some of it is intentional, since many of the movie’s scenes take place at a costume party), while the movie’s hair, makeup and production design for the San Fernando Valley scenes are overly exaggerated in pastels and neon. Perhaps this “movie set” look to the film serves a purpose, since it’s supposed to represent the glossy memories of someone nostalgic about their teenage years in the ’80s. But people who’ve seen the original “Valley Girl” (which was directed by Martha Coolidge) will be turned off by this remake’s glibness.

Although the remake removed the gritty and realistic aspects of the original “Valley Girl,” the plot of the original “Valley Girl” is mostly the same in this musical remake, with some notable differences. In both “Valley Girl” movies, Julie (who’s a popular girl at her school) breaks up with a guy that most people expect someone like her to date: a preppy jock who’s also popular at school. But he also happens to be very self-centered, cocky and possessive, which is why Julie breaks up with him. He swears that she’ll regret it, and he arrogantly predicts that she’ll beg him to take her back.

In both movies, Julie meets Randy shortly after the breakup. And it’s the kind of scene where they look at each other in a way that’s obvious that they’re attracted to each other and will eventually get together. In the original “Valley Girl,” Randy and Julie meet at a house party, where he’s shown up uninvited. In the remake, Randy and Julie meet briefly on the beach, and then have their first major flirtation later at a house party.

In the original “Valley Girl,” Julie’s obnoxious ex-boyfriend was named Tommy (played by Michael Bowen). In the “Valley Girl” remake, the ex-boyfriend is named Mickey Bowen (get it?), and he’s played by YouTube star Logan Paul, who’s famous for also being obnoxious in real life, so there doesn’t have to be a lot of acting from him. It’s unknown if the character was named Mickey before or after the filmmakers decided to put Toni Basil’s hit “Mickey” as a big musical number in the film. Yes, it’s as cringeworthy as it sounds.

The choreography by Mandy Moore (of “La La Land” and “So You Think You Can Dance” fame) is actually one of the better aspects of the “Valley Girl” remake. It’s just too bad that the watered-down story and corny dialogue make this movie much more inferior to the original. The remake is essentially a “jukebox musical” with a lot of ’80s hits stuffed into the plot.

There are a few modern updates to the “Valley Girl” remake. The cast is a little more diverse than the first “Valley Girl” film. In the original, all the girls in Julie’s close circle of friends are thin and white. In the remake, Julie’s clique includes an African American named Loryn (played by Ashleigh Murray), whose dream is to be a dancer in music videos, especially for her idol Janet Jackson; plus-sized Stacey (played by Jessie Ennis), who’s unfortunately the butt of jokes and not treated very well by some of her so-called “friends”; and petty-minded Karen (played by Chloe Bennet), who ends up dating Mickey after Julie breaks up with him.

In the original “Valley Girl,”  Julie’s friend Loryn (played  Elizabeth “E.G.” Dailey) is the one who fools around with Julie’s ex-boyfriend at a party, and they keep their short fling a secret. In the remake, Mickey and Karen openly date each other after Julie has dumped him. His rebound relationship with Karen essentially ends Karen’s friendship with Julie.

But in both movies, all of the San Fernando Valley girls in Julie’s clique still have the same stuck-up attitude about Hollywood, which they think is a place for freaks and weirdos. This social snobbery is why Julie’s friends pressure her to break up with Randy and get back together with her ex-boyfriend. If you know the formula of romantic comedies, you can guess how Julie handles this conflict and how it gets resolved in the end.

Both movies also have teen parties that are chaperoned by adults. Fun fact: Original “Valley Girls” co-stars Foreman and Dailey have cameos in the “Valley Girl” remake. Foreman plays someone who compliments Julie in a store that sells prom dresses (how very meta), while Dailey plays a drunk parent at one of the teen parties. However, the remake doesn’t have the original “Valley Girl” subplot of a “Mrs. Robinson”-type character trying to seduce the teenage guy whom her daughter wants for herself.

Julie’s parents are very different in each movie. In the original “Valley Girl,” Julie’s former hippie parents are much more lenient (her father also smokes marijuana in the movie) than Julie’s parents in the “Valley Girl” remake. For example, in the original “Valley Girl,” Julie’s parents Steve and Sarah (played by Frederic Forrest and Colleen Camp), who run a health-food restaurant, were okay with her staying out all night and dating Randy. In the remake, Julie’s parents Steve and Diana (played by Rob Huebel and Judy Greer) are much more conservative (Steve is a corporate business type), much more protective of Julie, and they don’t approve of her dating Randy.

Another big difference is that in the original “Valley Girl,” Randy’s family is not seen or mentioned at all. But the “Valley Girl” remake goes more into the backstory of Randy’s family, when he reveals that his father abandoned him, and his mother kicked Randy out of their home. And the original “Valley Girl” never showed the bachelor pad where Randy lived (which made him kind of mysterious), whereas the remake shows that Randy (who’s a wannabe rock star) lives in a dumpy apartment in Hollywood with his two band mates: a lesbian bass player named Jack (played by Mae Whitman) and a kooky drummer named Sticky (played by Mario Revolori). Jack is Randy’s best friend/sidekick, which was the role of Fred Bailey (played by Cameron Dye) in the original “Valley Girl” movie.

The “Valley Girl” remake also gives Julie career ambitions, which she did not have in the original movie. In the musical remake, Julie is an aspiring fashion designer who dreams of going to the Fashion Institute of Technology in New York City, but she’s pressured to conform and go to California State University at Northridge, a school that many of her peers from high school also plan to attend.

The other girls in Julie’s Valley Girl clique only have ambitions to go to college so that they can find a husband. As Loryn says to her friends while they’re sunning themselves at the beach, “If I’m not married by the time I’m 23, I’ll kill myself!” If that sounds like an outdated mindset, even for 1980s California, consider that a lot of teenage girls and young women still think this way in very conservative communities.

The “Valley Girl” remake’s hokey dialogue and mediocre acting might be forgivable, but the movie does something that’s pretty unforgivable for fans of the original “Valley Girl” movie. It changed the plot so that Modern English’s “I Melt With You” (the signature song from the original “Valley Girl” soundtrack) is supposed to be written by Randy for Julie. In other words, that means Randy and his band play “I Melt With You” in a serenading scene that’s as dumb as you think it is. Pure garbage.

Since the “Valley Girl” remake ruined “I Melt With You,” here’s a list of ’80s songs that the movie’s cast members remade for the musical scenes, in a less offensive but still fairly cheesy way: Cyndi Lauper’s “Girls Just Want to Have Fun”; Joan Jett’s “Bad Reputation”; a-ha’s “Take on Me”; The Cars’ “You Might Think”; A Flock of Seagulls’ “Space Age Love Song”; The Cure’s “Boys Don’t Cry”; Queen and David Bowie’s “Under Pressure”; and a medley of Depeche Mode’s “Just Can’t Get Enough,” Madonna’s “Material Girl,” Hall & Oates’ “I Can’t Go for That (No Can Do),” and Soft Cell’s cover version of “Tainted Love.”

There are also some songs in the movie that are the original artists’ studio recordings, such The Cars’ “Magic,” Duran Duran’s “Rio,” Men at Work’s “Be Good Johnny,” Run-DMC’s “It’s Like That” and Men Without Hats’ “Safety Dance.” It’s obvious that the filmmakers spent a great deal of the movie’s budget on licensing these hit songs, because there doesn’t appear to have been much of the budget invested in creating a quality film.

Orion Classics released “Valley Girl” in select U.S. drive-in theaters, on digital and on VOD on May 8, 2020.

2019 DOC NYC movie review: ‘Maurice Hines: Bring Them Back’

November 18, 2019

by Carla Hay

Maurice Hines in “Maurice Hines: Bring Them Back” (Photo by John Carluccio)

“Maurice Hines: Bring Them Back”

Directed by John Carluccio

World premiere at DOC NYC in New York City on November 10, 2019.

In the opening scene of “Maurice Hines: Bring Them Back,” Tony-nominated entertainer Maurice Hines Jr. (who is in his 70s) is shown tap dancing with the kind of talent that most people never have in their lifetimes. That opening scene in this fascinating and comprehensive biographical film is a nod to Hines’ dancing roots, because he got his start in showbiz as a tap dancer at the tender age of 5. Throughout his childhood and early adulthood, Hines’ dancing partner was his younger brother Gregory. The two brothers also performed with their musician/singer father, Maurice Hines Sr., as part of the trio Hines, Hines and Dad.

But just like a lot of siblings, Maurice and Gregory (who died of cancer in 2003) often didn’t see eye to eye, and the documentary shows that the brothers’ relationship is the source of Maurice’s biggest lifelong emotional joy and pain. Their on-again, off-again feuding is discussed, but thankfully not exploited in the movie, which shows that Maurice has led a full and interesting life that includes being openly gay from as early as he can remember.

As Maurice’s friend Debbie Allen says in the film: “Maurice is one of the most energetic, alive people I’ve ever known.” And the movie has a spectacular range of archival footage, from his early years as a performer to his stints on Broadway or on tour for such productions as “Eubie!,” “Sophisticated Ladies,” “Uptown… It’s Hot!” There’s also new footage of Maurice dancing up a storm with dancer brothers Leo and John Manzari, who are his protégés and frequent collaborators. Viewers also get to see how much he loves to mentor young dancers, as he’s shown as a guest instructor at the Debbie Allen Dance Academy in Los Angeles, as well as at the University of Hartford in Connecticut.

One of the surprising revelations in the movie is that Maurice’s family always accepted him as gay. Living his life so openly as a gay man was rare for his Silent Generation, just as it was rare for out LGBTQ people to be completely welcomed by their families, when homophobia was enforced by society at large. In the documentary, Hines remembers his mother telling him that she always knew he was gay before he told her, and he’d tell his father about the guys he was dating when his father asked about his love life. His straight brother Gregory, who used to go to gay bars with Maurice, had no hangups about dancing with gay men at the clubs.

And Maurice isn’t shy about discussing his favorite type of men: “I like football players the best,” he says. “If they’ve got big calves, we’re going to talk.” He also mentions that he used to date a lot of football players (but he doesn’t name names), and here’s how he described the relationships: “They just fell in love with me.”

The documentary also shows him playfully flirting with a young, stocky black cameraman from the film crew, after Maurice realizes that the cameraman overheard his microphoned comment about how he thinks the guy is sexy. “I’m 75, baby,” he laughed while sizing up the cameraman. “I say exactly what I need.”

Among the other people interviewed in the movie are Gregory’s children Daria and Zach; Gregory’s first ex-wife, Patricia Panella, who’s remained a close friend of Maurice’s; the Manzari Brothers; Ballet Tap USA founder Mercedes Ellinston; and Maurice’s friends Chita Rivera and Mel Johnson Jr., whose decades-long friendship with Maurice began when they when they were in the original 1978 Broadway cast of “Eubie.” Maurice also acknowledges some of his biggest influences, including his mentor Henry LeTang and VOP dance creator Frank Hatchett.

The documentary also covers how Maurice was affected when Gregory split off from him in 1972 to establish a separate career. Gregory still performed in musical theater, but he went on to become a star of films and TV shows, while Maurice stayed primarily in theater, where he sometimes replaced Gregory in touring productions of Broadway shows that previously starred Gregory. Maurice made his film debut in director Francis Ford Coppola’s 1984 drama “The Cotton Club,” in which he and Gregory played estranged, tap-dancing brothers who eventually reconcile. (The movie was also the last time that the two brothers danced together in public.)

The brothers’ relationship in “The Cotton Club” was very much a case of art imitating life. Although there was a period of about 10 years when Gregory and Maurice didn’t speak to each other (even when they lived just a few blocks from each other), they eventually reunited by the late 1990s, and remained close until Gregory’s untimely death in 2003. Maurice says in the movie (and his family and friends confirm) that he will never tell anyone why he and Gregory stopped talking to each other during their long estrangement. One of the most touching parts of the documentary is when Maurice accompanies Coppola to a 2017 Telluride Film Festival restoration/revival screening of “The Cotton Club,” and Maurice gets emotional during a post-screening Q&A when talking about Gregory.

Maurice also shows his tender side when it comes to his daughter, Cheryl Davis, whom he adopted with Silas Davis, who was Maurice’s partner from 1979 to 1996. (It’s another example of how Maurice was ahead of his time, because he adopted when gay adoptions weren’t allowed in most states.) Cheryl is in the movie, and Silas is briefly heard in in the film, in a voiceover interview discussing how they raised her.

“Maurice Hines: Bring Them Back” director John Carluccio, who is also the film’s editor and cinematographer, weaves together a fascinating story by not only respectfully telling Maurice’s life story but also not forgetting to present an overall historical context of the groundbreaking things that Maurice did as an openly gay black man in the entertainment industry. Many of his accomplishments were during a time when being an openly gay black man put him at high risk of being fired, assaulted, or worse.

The movie is also an unflinching look at how Maurice is dealing with aging. He shows some reclusive tendencies as a senior citizen who lives alone, and he openly discusses how much it bothers him to know that he’s losing his short-term memory. But no matter what age Maurice is, his charisma and zest for life are firmly intact, and it’s a joy to watch him in this movie. Simply put, “Maurice Hines: Bring Them Back” isn’t just a documentary about an underrated artist who at times was overshadowed by his more famous younger brother. The movie also shows how Maurice is a person of substance in his own right, and it’s an inspirational look at how someone can live life with passion and authenticity, while uplifting other people.

UPDATE: Cinqua will release “Maurice Hines: Bring Them Back” on digital and VOD on January 5, 2022. The movie will be released at IFC Center in New York City for a one-week engagement on February 2, 2022. Starz will premiere the movie on February 8, 2022.

2019 D23 Expo: Walt Disney Studios, Disney Animation, Pixar, Marvel, Lucasfilm programming announced

August 8, 2019

“Aladdin” (Image courtesy of Walt Disney Studios)

The following is a press release from D23:

The Walt Disney Studios presents an exclusive look at its unparalleled film slate at D23 Expo 2019 in Anaheim, California, taking place August 23–25.
At a marquee Hall D23 presentation hosted by The Walt Disney Studios Chief Creative Officer and Co-Chairman Alan Horn on Saturday, August 24, fans will get a behind-the-scenes glimpse at the Studios’ upcoming theatrical releases, including animated films from Walt Disney Animation Studios and Pixar Animation Studios and live-action projects from Disney, Marvel Studios, and Lucasfilm.

These studios are responsible for some of the world’s biggest movie hits, and past D23 Expos have been the site of some of the first-released details on blockbusters such as Disney’s Aladdin; Walt Disney Animation Studios’ Moana and Zootopia; Pixar Animation Studios’ Toy Story 4; Marvel Studios’ Avengers: Infinity War; and Lucasfilm’s Star Wars: The Last Jedi, along with unforgettable moments like the debut of The Lion King’s “Circle of Life” sequence, live musical celebrations of Coco and Mary Poppins Returns, and a sprawling cast of Avengers assembling onstage.

Saturday’s showcase will feature never-before-seen footage, surprise appearances, and more. While the films to be featured in Hall D23 will remain under wraps until showtime, the Studios’ upcoming slate includes Disney’s Maleficent: Mistress of Evil, Mulan, and Jungle Cruise; Walt Disney Animation Studios’ Frozen 2; Pixar originals Onward and Soul; Marvel Studios’ Black Widow and The Eternals; and Lucasfilm’s Star Wars: The Rise of Skywalker, and more.

HALL D23 PRESENTATIONS:

Go Behind the Scenes with The Walt Disney Studios
Saturday, August 24, 10 a.m., Hall D23

The Walt Disney Studios presents a behind-the-scenes look at its blockbuster collection of upcoming films. Fans will glimpse what’s on the drawing board for the acclaimed filmmakers at Walt Disney Animation Studios and Pixar Animation Studios and get a peek at the exciting slate of live-action projects, from Disney to Marvel Studios to Lucasfilm’s Star Wars. As always, attendees will be treated to exclusive footage, special guest appearances, and more! Cell phones, cameras, and all recording devices will be checked for this presentation.

Disney on Broadway: A 25th Anniversary Celebration
Saturday, August 24, 3:30 p.m., Hall D23

Disney on Broadway is thrilled to return to D23 Expo to celebrate its 25th anniversary with an exclusive concert. Hosted by Tony Award®-nominee Gavin Lee (Mary Poppins, Beauty and the Beast), the 75-minute concert will feature Heidi Blickenstaff (Freaky Friday, The Little Mermaid), Ashley Brown (Mary Poppins, Beauty and the Beast, On The Record), Kissy Simmons (The Lion King), Josh Strickland (Tarzan), and Alton Fitzgerald White (The Lion King). A six-piece band, led by Jim Abbott, will accompany performers as they lead the audience through Disney on Broadway’s Tony Award-winning catalogue. The performance will feature songs from Beauty and the Beast, The Lion King, Aida, Tarzan®, Mary Poppins, The Little Mermaid, Newsies, Aladdin, Freaky Friday, and Frozen. (Talent is subject to change.)

Disney Character Voices, Inc: The 30th Anniversary Celebration
Sunday, August 25, 4:15 p.m., Hall D23

For 30 years, Disney Character Voices has kept the voices of Disney characters alive and well for fans through toys, games, apps, theme park attractions, and much more. Take a journey with Rick Dempsey, SVP of Character Voices, and many of those beloved voices—including Tony Anselmo (“Donald”), Jodi Benson (“Ariel”), Bill Farmer (“Goofy” and “Pluto”), Bret Iwan (“Mickey Mouse”), and Linda Larkin (“Jasmine”), with more special guests to be announced—as they step out from behind the microphone to celebrate this joyous anniversary through stories and amazing voices!

CALENDAR OF KEY EVENTS:

Great Moments with Walt Disney
Friday, August 23, 10:30 a.m., Archives Stage

Grammy®-winning producer Randy Thornton, Disney Music Group’s Supervising Producer and Music Historian, will present audio recordings of Walt Disney recalling the development of the first cartoon with synchronized sound, creating Disney’s first hit song, and meeting Russian composer Sergei Prokofiev.

“Vader Immortal” (Image courtesy of Lucasfilm)

Vader Immortal: A Star Wars VR Series – Episode II First Look
Friday, August 23, 2 p.m., Stage 28

Vader Immortal: A Star Wars VR Series lets you become the hero of your own personal adventure as you step into the role of a Force-sensitive smuggler recruited by Darth Vader himself. Director Ben Snow, Senior Experience Designer Jose Perez III, and Lucasfilm Story Group Creative Executive Matt Martin take the stage for an in-depth discussion about the upcoming second episode, including an exclusive sneak peek that will be available only to those at D23 Expo.

A Musical Celebration of Aladdin
Saturday, August 24, 5:30 p.m., D23 Expo Arena

To celebrate the in-home releases of the all-new live-action Aladdin and Walt Disney Animation Studios’ Aladdin Walt Disney Signature Collection, hosts Scott Weinger (“Aladdin”) and Linda Larkin (“Jasmine”) take us on a musical magic-carpet ride through your favorite tunes from Aladdin both on stage and on screen. Special guests include Brad Kane (“Aladdin” singing voice), Deedee Magno Hall (“Jasmine” in Disney’s Aladdin—A Musical Spectacular), Jamal Sims (Choreographer, Aladdin live action), Clinton Greenspan (“Aladdin” on the North American tour), Lillias White (Hercules), and Norm Lewis (Scandal, The Little Mermaid on Broadway). You never know what surprises the Genie may conjure up.

The Little Mermaid: The 30th Anniversary Celebration!
Sunday, August 25, 10 a.m., D23 Expo Arena

Fans of the classic film are invited to celebrate the 30th Anniversary of The Little Mermaid, recognized around the world as one of the greatest animated films of all time. Hosted by the voice of Ariel herself, Jodi Benson, it will be an unforgettable “Under the Sea” celebration. Presented by H2O+.

Hidden Gems of the Walt Disney Animation Research Library: Preserving and Inspiring the Disney Legacy
Sunday, August 25, 12 p.m., Walt Disney Archives Stage

Fans will discover what it’s like to hold Disney history in their hands in this informative panel. The talented team at Walt Disney Animation Research Library (ARL) preserves millions of pieces of original Disney animation art from Steamboat Willie to the films of today. Attendees will learn how the ARL shares these hidden gems, inspiring artists and audiences alike.

The Art of Disney Storytelling
Sunday, August 25, 3 p.m., D23 Expo Arena

John Stamos hosts this panel of master storytellers—including Disney Legends Tony Baxter and Floyd Norman, Walt Disney Animation Studios’ Paul Briggs (head of story, Frozen and Big Hero 6), and legendary producer Don Hahn—who will discuss Walt Disney’s impact on their careers and the entertainment industry, highlighting the ways they leverage those lessons to spark creativity today.

World Premiere: Walt Disney Animation Studios Presents Short Circuit
Sunday, August 25, 4 p.m., Stage 28

In this exciting panel, Walt Disney Animation Studios will debut Short Circuit, an experimental short film program that will debut in Spring 2020 on Disney+. Talented artists and filmmakers will share their films for the first time anywhere and give behind-the-scenes insights.

Two Worlds, One Family: The Making of Tarzan
Sunday, August 25, 5:45 p.m., D23 Expo Arena

Twenty years later, the team who brought the animated classic to life “swings” into the D23 Expo to give a behind-the-scenes look at how the Walt Disney Animation Studios film came to be! Guests include directors Chris Buck (Frozen 2) and Kevin Lima (Enchanted); animators Bruce W. Smith, Ken Duncan, and Disney Legend Glen Keane; and producer Bonnie Arnold, as well as a very special performance by Matthew Morrison (Glee) from his forthcoming Walt Disney Records album.

ALL WEEKEND ON THE D23 EXPO SHOW FLOOR

Pixar and Walt Disney Animation Studios

Walt Disney Animation Studios (WDAS) and Pixar will once again team up for an immersive animation experience at D23 Expo. The studios’ upcoming slate of films, which include WDAS’ much-anticipated Frozen 2 and Pixar’s brand-new original feature film Onward, will be highlighted, including opportunities to meet the teams behind the movies and autograph signings of exclusive art and promotional item giveaways. Pixar Animation Studios will also introduce fans to a real-life version of Guinevere, the van from Onward. Decked out with crescent moon windows and a “Pegacorn” (part Pegasus, part unicorn) painted on her sides, Guinevere will offer guests a taste of the adventure that two teenage elf brothers will embark upon in the movie.

Disney on Broadway

Fans can celebrate Disney on Broadway’s milestone 25th anniversary by visiting the VR (virtual reality) theatre on the D23 Expo floor. The brand-new VR experience puts you center stage in Aladdin, Frozen, and The Lion King’s biggest Broadway production numbers, featuring Broadway’s Caissie Levy (Elsa), Major Attaway (Genie), Telly Leung (Aladdin), and Tshidi Manye (Rafiki).

Lucasfilm Pavilion

For the first time at D23 Expo, Lucasfilm will host a pavilion on the show floor with an impressive display showcasing the evolution of the Star Wars stormtrooper. The exhibit will include several of the screen-used costumes seen throughout the iconic movie series. From the classic stormtrooper to new designs featured in the upcoming Star Wars: The Rise of Skywalker, this stunning display is a rare opportunity to examine these production costumes up close and study the many unique styles deployed throughout a galaxy far, far away. Also featured in the Lucasfilm pavilion will be a special section for young Padawans that will include Star Wars Galaxy of Adventures video shorts, along with multiple interactive activities for kids.

Marvel Studios Pavilion

Inside the Marvel Studios Pavilion on the show floor, fans can step inside the action of Avengers: Endgame via a D23 Expo-exclusive video experience, and tour the costume gallery to see costumes worn by characters from the Marvel Cinematic Universe. Throughout the weekend, Marvel Studios will host panel conversations with filmmakers and artists, as well as special talent signings inside the Pavilion. Fans can test their encyclopedic knowledge of the Marvel Cinematic Universe with daily trivia games for prizes.

Inside the World of Avatar

“Avatar” props (Photo courtesy of 20th Century Fox)

The astonishing world of Avatar is one of the most indelible ever created in film and a celebration of all that is possible in cinema and storytelling. Avatar’s visionary director, James Cameron, has created a spellbinding, immersive world that transports audiences to a never-before-imagined place inhabited by jaw-droppingly original characters. At D23 Expo 2019, the spectacular world of Avatar comes to life once again with rarely seen props, costumes, and models used in the making of Cameron’s groundbreaking film, paired with the iconic movie moments where they are brought to life. Fans will also get a glimpse at the making of Pandora – The World of Avatar at Walt Disney World Resort, making this one-of-a-kind exhibit, located on the second floor of the Anaheim Convention Center, a must-see stop for anyone who appreciates the very best in movie and theme park storytelling.

Disney Music Emporium – Album Signings and Exclusive Products

Disney Music Emporium, the online destination for collectible Disney music products, returns to D23 Expo 2019 with a pop-up store on the show floor. Over the three-day Ultimate Disney Fan Event, the Emporium will feature album signings by artists and award-winning composers. Limited quantities of a wide assortment of music products will be available, including new releases from Marvel and Lucasfilm, vinyl albums, die-cut picture disc vinyl, cassettes, Crosley turntables, cassette players, posters, and more. Additionally, visitors to Disney Music Emporium will be able to pre-order the Matthew Morrison Disney album. Album signings at the Disney Music Emporium shop include Oscar®- and Grammy®winning composer and Disney Legend Randy Newman (Toy Story films, The Princess and the Frog, Cars films); composer Tyler Bates (Marvel Studios’ Guardians of the Galaxy Vol. 2 and Marvel Studios’ Guardians of the Galaxy); actor Anthony Gonzalez (voice of Miguel from Coco); singer-songwriter, actor, and dancer Matthew Morrison (Glee); plus Hollywood Records artist JD McCrary (voice of young Simba in The Lion King). Scheduled artists subject to change.

Single-day tickets for Sunday of D23 Expo 2019 are available for $89 for one-day adult admission and $69 for children ages 3–9. Gold Members of D23: The Official Disney Fan Club can purchase tickets for $79 for a one-day adult admission and $59 for children ages 3–9. Single-day Friday and Saturday tickets, as well as three-day passes, are sold out. For more information on tickets and D23 Expo 2019, visit D23Expo.com.

About The Walt Disney Studios
For more than 90 years, The Walt Disney Studios has been the foundation on which The Walt Disney Company was built. Today, the Studio brings quality movies, music, and stage plays to consumers throughout the world.

About D23 Expo 2019
D23 Expo—The Ultimate Disney Fan Event—brings together all the worlds of Disney under one roof for three packed days of presentations, pavilions, experiences, concerts, sneak peeks, shopping, and more. The event provides fans with unprecedented access to Disney films, television, games, theme parks, and celebrities.

For the latest D23 Expo 2019 news, visit D23expo.com. Presentations, talent, and schedule subject to change. To join the D23 Expo conversation, be sure to follow DisneyD23 on Twitter, Facebook, Instagram, and YouTube, and use the hashtag #D23Expo.

About D23
The name “D23” pays homage to the exciting journey that began in 1923 when Walt Disney opened his first studio in Hollywood. D23 is the first official club for fans in Disney’s 90-plus-year history. It gives its members a greater connection to the entire world of Disney by placing them in the middle of the magic through its quarterly publication, Disney twenty-three; a rich website at D23.com with members-only content; member-exclusive discounts; and special events for D23 Members throughout the year.

Fans can join D23 at Gold Membership ($99.99), Gold Family Membership ($129.99), and General Membership (complimentary) levels at D23.com. To keep up with all the latest D23 news and events, follow DisneyD23 on Twitter, Facebook, Instagram, and YouTube.

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