Kennedy Center: Celebs Rumors

+22

Expect the unexpected at Katharine McPhee and David Foster’s 2024 tour

Katharine McPhee and David Foster go on the road, it’s a family affair.Not only do the married couple perform together — McPhee, of “Smash” and “Waitress” fame belts classics from her extensive catalog while Foster known for his work on “St. Elmo’s Fire” and countless other films and records mans the keys— they also recently brought their two-year-old son Rennie onstage to play the drums with them at Washington, D.C.’s Kennedy Center.“He only had to wait two years to play there.
nypost.com

All news where Kennedy Center is mentioned

metroweekly.com
Editor’s Pick: ‘Dear Evan Hansen’ at the KenCen
Dear Evan Hansen entered a world pre-too many things to mention, at a moment of unimaginable innocence compared to the here and now.The musical, with a book by Steven Levenson, and music and lyrics by Benj Pasek and Justin Paul, had its world premiere at D.C.’s Arena Stage in 2015 and enjoyed a moment practically to itself at the forefront of a nuanced conversation about teens and depression, guns, suicide, and the pervasive influence of social media.The lore is long surrounding Michael Greif’s original production — perhaps most fervently among those who missed it — and the early revelation of seeing Ben Platt perform the title role.That was before Pasek and Paul had cemented their golden rep as the Oscar-winning lyricists of La La Land‘s “City of Stars,” and composers of original songs like “This Is Me” for Hugh Jackman’s blockbuster hit The Greatest Showman.That was before director Greif took Evan Hansen to Broadway and the show earned six Tonys, including Best Musical and Best Actor for Platt.Eras and movements have come and gone since the show helped frame new ways of considering a host of hot-button issues — chiefly teenage mental health — and before shocking real-world events, from Parkland to presidential politics, kept reshaping the conversation at a grueling and violent pace.Dear Evan Hansen now comes back around for a second time with the touring production of Greif’s Broadway staging, three years after its first stop at the Kennedy Center.It long ago shed its original cachet as the edgiest pop culture phenom around about disaffected teens. In fact, years of audience-pleasing commercial success might have smoothed some of the show’s formerly sharp edges.
metroweekly.com
Editor’s Pick: ‘Mean Girls’ Is So ‘Fetch’ At The Kennedy Center
Mean Girls, the musical adaptation of Tina Fey’s iconic 2004 film, is now back in “fetch” action.The show’s First National Tour, which had kicked off in Buffalo in the fall of 2019, has finally resumed for a run including a three-week stop at the Kennedy Center.Fey adapted her screenplay to create a plucky and wry book further enhanced by songs as appealing as the story, all developed in hodgepodge pop pastiche fashion by Fey’s husband, composer Jeff Richmond working here with lyricist Nell Benjamin (Legally Blonde).With Casey Nicholaw as director/choreographer, the musical Mean Girls moves with the same exaggerated, kinetic energy as that of an earlier Nicholaw production, The Book of Mormon.The show also calls to mind Dear Evan Hansen due to Scott Pask’s digitally driven set design, a marvel developed with video designers Finn Ross and Adam Young and using sophisticated and colorful projected LED imagery to frame scenes in the jungle, in school, and at home.Danielle Wade stars as Cady Heron, the Janus-faced heroine who works to infiltrate the “Queen Bees” clique led by Nadina Hassan as Regina George.Megan Masako Haley plays Gretchen Wieners and Jonalyn Saxer plays Karen Smith, while Eric Huffman is “almost too gay to function” as Damian Hubbard and Mary Kate Morrissey plays misfit sidekick Janis Sarkisian.The main cast is rounded out by Adante Carter as Aaron Samuels, Kabir Berry as Kevin G., Lawrence E. Street as Mr.
metroweekly.com
Editor’s Pick: ABT’s “Don Quixote” At The Kennedy Center
Don Quixote.In honor of the center’s 50th anniversary season, the acclaimed New York-based company once again revives the signature duet of bravura dancing between the spirited maiden Kitri and her charming amour Basilio — this time performed in its proper place as the stirring climax to the full-length Don Quixote.A sweeping and romantic tale, the rollicking, high-spirited ballet was developed by legendary Russian choreographer Marius Petipa, with further refinement by Petipa’s former student and regular assistant Alexander Gorsky.Set to music by Ludwig Minkus in a staging by ABT’s Artistic Director Kevin McKenzie and longtime Regisseur Susan Jones, Don Quixote offers what the company calls “a feast of choreographic fireworks.”A different coupling of dancers from the company’s starry roster will be featured at each of five performances in the Opera House, kicking off with Isabella Boylston as Kitri and Daniil Simkin as Basilio on Thursday, March 31.The premiere dance organization, decreed “America’s National Ballet Company” by an act of Congress in 2006, will mark its return to the Kennedy Center earlier this week with two evening performances of the mixed-repertory program “ABT Forward.”Billed as a showcase of “the company’s artistry in three dazzling works by today’s modern masters of choreography,” the program includes Bernstein in a Bubble, a work by Alexei Ratmansky developed in pandemic quarantine and inspired by the variety, charm, and quintessentially American spirit of Leonard Bernstein’s Divertimento; ZigZag, a joyous piece, set to songs by iconic crooner Tony Bennett, from Jessica Lang, hailed as a “master of visual composition” by Dance Magazine; and Single Eye, a new, innovative work by Alonzo King and set
metroweekly.com
Bringing the glam to King Herod in ‘Jesus Christ Superstar’
Jesus Christ Superstar took shape as a landmark album.Released in 1970 to resounding success, that recording captivated audiences worldwide, spawning the original Tony-nominated production, the cult classic 1973 film, and countless concerts, adaptations, and revivals — including, nearly 50 years later, director Timothy Sheader’s acclaimed London production staged by Regent’s Park Open Air Theatre.Now, Sheader and choreographer Drew McOnie’s driving, modern-dress iteration is repping the musical’s 50th anniversary on a North American tour, currently anointing the Kennedy Center Opera House with dulcet voices and shredding guitars.Performed by a youthful cast wielding microphones and playing instruments, supported by a stellar orchestra stacked behind them on scaffolding, the show strikes an agreeable balance between concert and theater.“Our production is based off the original concept album,” says Paul Louis Lessard, whose gold-lamé-frocked King Herod is an impish delight in the show, challenging Jesus to prove himself the miraculous Christ. “The idea was, if you put on the record at the beginning of our show and pressed play, what you experience with our production is what it would be like to listen to that record all the way through without stopping.”Because the production’s focus is honoring Webber and Rice’s score, Lessard adds, “our creative team was very encouraging about every performer bringing themself to the role, and making the music the priority of the show and this interpretation.
DMCA