#What a devastating loss for the Broadway community

[jgroffdaily]

Jonathan is involved in the documentary ‘Ghost Lights’, a documentary about Broadway, theater and AIDS.

From Mark Harris at Vulture:

Back in the day at Tower Records, there was a young, highly opinionated gay man who worked the register, an aspiring filmmaker named Kieran Turner. “He was considered the bitchiest clerk ever to work there,” says his friend Christianne Tisdale, an actor who has been part of the Broadway company of Wicked since 2019. “Epically awful. He knew his stuff, and if you didn’t, he could be fierce. And he was quite beautiful, so, of course, people would’ve been like …” A brief pantomime of gay bedazzlement flickers across her face. “He was a fascinating little creature.” His first documentary, Jobriath A.D. (2012), was a sad and enthralling portrait of a 1970s performer who was once compared to David Bowie and is believed to be the first fully out glam-rocker; soon after his first two albums, his career went up in flames. Jobriath died of AIDS-related illness in the Chelsea hotel in 1983, little remembered.

By the time Turner started his next film, he was 48, and he had chosen an even more difficult retrieval project — one that, in a way, was intended to finish what Neufeld’s list had begun decades earlier. Titled Ghost Lights: Reclaiming Theater in the Age of AIDS, the film would tell the story of theater’s devastation and resilience in the face of an existential threat to the people who kept it going. “He felt a huge connection with this population and with this story,” says Tisdale, who came aboard to produce the movie. Turner’s interest had grown from the front-of-house jobs he had taken as a young man working for Broadway’s Shubert Organization. Night after night, it was impossible for him to miss the toll the disease was taking on the theater community. “Kieran would read obituaries and keep seeing all these deaths in the theater world that were just strange, with all these weird causes,” says Tisdale. “So many young men, but none of them were dying of AIDS. Kieran was like, Oh, there is a story here that’s in danger of being lost forever.” Years later, he started compiling his own database of names, labeled DEATHS GRID, which became the foundational research for the movie.

In 2016, Turner was diagnosed with cancer and had to postpone work to begin chemotherapy. Six years later, as the film was underway, his cancer returned. Even as he continued to source archival material, he was often in pain that was difficult to ignore or conceal. Nevertheless, Turner came close to finishing Ghost Lights, banking more than 150 interviews with theater directors, choreographers, producers, writers, actors, and journalists, many of whom witnessed the first 15 years of the crisis, before he died at 56 this past December.

Turner’s documentary, which is now being overseen by Tisdale and the production company RadicalMedia, is seeking funds for completion. Tisdale sometimes feels overwhelmed by the breadth of the story it’s telling. “Is a thousand a safe estimate for those who died? It’s probably low,” she says. “Still, that’s the ensemble of Wicked, dying twice a year for 20 years. All the hopes and dreams they had, all that their families have lost. All the communities that were lost, all the work they had yet to do. It’s all gone.”

At the time of Turner’s death, a handful of interviews remained on his wish list. One of the people he had originally hoped to talk to, the actor Jonathan Groff, initially turned down the request. Groff was still in grade school when the catastrophe unfolded; he told Turner he had more questions than answers. The producers reapproached him and asked if he would consider serving as, in Tisdale’s words, a kind of on-camera “tour guide … a bridge between generations and a conduit to our audience.” He agreed. This is, perhaps, the central mission shared by filmmakers, museum curators, advocates, and activists — to bring a vanished era to life for generations of younger queer people, to tell them what it was like before there’s nobody left who knows firsthand.

[h2shonotes]

"Let It Burn" is a standout song from the Broadway musical Paradise Square. Performed by Nelly O'Brien, the lead character portrayed by Joaquina Kalukango, in a climactic moment of the show. The song channels Nelly’s deep anguish, defiance, and hope as she reflects on the destruction of her community and the injustices she has faced. It serves as a cathartic anthem of resilience and determination, expressing a desire to rise from the ashes of devastation.

Now is the time begin the practice of radical acceptance.  The United States has begun its authoritarian drift. It is time to recognize the reality of the political and social dynamics at play without denial or paralysis. This allows for meaningful reflection and action, even in the face of unsettling or challenging shifts in norms, governance and democracy.

Acknowledge Reality without succumbing to despair or avoidance is essential. Radical acceptance begins with recognizing the signs of authoritarian tendencies, such as:

Erosion of democratic norms (e.g., undermining free elections or judiciary independence).

Restrictions on civil liberties (e.g., independent press or protest rights).

Polarization or fear-based rhetoric. (e.g., immigrants are polluting the blood of the country)

Let Go of Resistance to the Unchangeable. Radical acceptance does not mean passive agreement with authoritarianism. Instead, it involves:

Accepting that these changes are happening.

Focusing energy on what can be influenced rather than on lamenting the loss of prior systems.

Stay Engaged. Accepting the current state allows individuals to engage in constructive actions:

Supporting democratic institutions.

Educating oneself and others on civic responsibilities.

Building coalitions for accountability and reform.

Balancing Hope and Realism. A key aspect of radical acceptance is holding space for both grief about what is lost and hope for what can be rebuilt. This balance can sustain motivation and emotional resilience. None of this will be easy. 

[holytrohmanempire]

per the impending and devastating loss of How to Dance in Ohio, I have some rambly thoughts under the cut

Mel's character hit me harder in the representation than anyone else. I've never been formally diagnosed or anything, but I learned during college that "everyone assumed" I was autistic. There's a scene in the show I won't go into due to potential spoilers where Mel has a difficult time communicating with their boss and I have had that conversation almost verbatim at... every job I've ever had. I'm queer and I don't do tasks that aren't communicated to me and I don't have a lot of familial support (biologically - my chosen family and in laws are wonderful) and I often feel abandoned when I'm... outgrown, for lack of a better term.

anyway, when the soundtrack came out, I was struck with the realization that they get a turn of the same line twice. Early in the show they say:

"Do you know how your habits are formed? Doing the same thing over and over."

This is portrayed by Mel as a good thing. They're praised as having good work ethic, they've figured out how to get by because they form habits. It's a strength for them.

But then later in the show, they say:

"Do you know what insanity is? Doing the same thing over and over."

For me, this speaks to the double edged sword of autism, the counterpoint to the "disability is a superpower!" narrative you sometimes see on places like tumblr. Because doing the same thing over and over (an autistic trait if there ever was one) is their strength and weakness at the same time.

Sometimes the things that make you you are good, sometimes bad, sometimes neutral, and sometimes all three. I can "hello, how are you? Thanks I'm fine!" a thousand times and it will be right every time, and that thousand and first time it will be the wrong thing to say. The other person will go off script and I will have done something wrong that I had no idea was wrong.

This show makes it clear that the phrase "(one) struggles with autism" is a negative misconception, but also shows that, while it sucks when people say that... sometimes we do. Not because stimming or being blunt or getting the script wrong is bad, but because we have to deal with the fallout when other people don't like it. One of my first clear memories is of being 3 or 4 years old and getting put in time out by a teacher for asking "What?" when she called my name. Nobody had ever told me I was supposed to either say yes or just look up - I wanted to know why she had called for me, but I wasn't allowed to ask that. At my last job, my supervisor kept asking me why I had made a mistake and I was baffled, telling her that I didn't do it for any particular reason, I just messed up, that's why it's called a mistake, and didn't find out till after I went home, rebuked, that she asked why because she wanted an apology. I spent my whole life getting in trouble for fidgeting and either daydreaming or being a know it all, depending on the class. People would meet me once and call me aloof or mean or weird.

But autism is also some of the best of me. I can always win trivia games and I'm a font of useless fun facts at parties. I devour books and I finish my work each day in record time. I like being me - even the cringe parts. I like slimes and stim toys and curling up with the same book I've read a thousand times before. I would never trade that away.

I like Mel because you get to see the best and the worst. I like that they're bad with people, but they try so hard, and they're so sincere. I like that they're practical and pragmatic but willing to forgive.

I'm devastated to be losing How to Dance in Ohio on Broadway. I think it should have run for years and years, and I think it's low key homophobic that I don't get to go like, once a month with my lottery-won tickets and see that awesome shiny disco ball set piece (way cooler than the phantom chandelier.)

But I hope what this means is a lower budget future for the show. I guess a pro-shot is probably a pipe dream, but I hope it means off-broadway, a tour, community and high school theater access. I hope the silver lining is people who are not lucky enough to have my circumstances getting to see it and feel that same chest-crushing recognition I did. I hope everyone who needs it gets to see themselves on stage and weep (as I did) through fully most of the songs. I hope it means more autistic actors getting to stim on stage! I hope it means normalizing people like me. I hope it's the first step towards a legacy.

(and I also hope everybody in the cast gets their dream roles forever and ever y'all were so amazing omg)

[isadomna]

Robert Redford and Natalie Wood

“I had a wonderful time working with Natalie, not only because of her innate talent, but she also loved to laugh and joke around on the set, and we would tease each other a lot,” - Robert Redford

Natalie Wood met Robert Redford at Van Nuys High School in Southern California when she was a sophomore and he was a senior. Their initial encounter was not a friendly one. Robert was on duty as school assembly guard when Natalie came running to his door, late for the assembly, begging him to let her in. Redford, wanting to be ‘cool’ said she wasn’t allowed to go through his door and she would have to go around to the door that accommodated her last name. Natalie then called him an ‘asshole’ and gracefully went around to her proper door. The two wouldn’t cross paths again for ten years, when Natalie and her Splendor in the Grass co-star Warren Beatty stopped backstage to meet Redford, after catching his performance in the Broadway play Sunday in New York. Natalie claimed she didn’t remember the high school rebuff.

Natalie Wood reportedly recommended Redford to Warner Bros for the 1965 drama Inside Daisy Clover. Robert has always credited Natalie for his being brought into the project in a role that essentially kick started his film career. Natalie later recalled how he eased her nerves during a precarious situation filming in a small boat at the Santa Monica Pier, made even scarier by her fear of water. A gust of wind caused a rogue wave to cast the boat to sea, away from the crew and technicians. “There was no way we could get Natalie and Bob off the boat, and the lines to keep them in place were breaking right and left,” director Robert Mulligan recalled. Despite the danger, Redford maintained a sense of humor that kept Wood relatively calm, earning her trust and beginning an enduring friendship. Rumors of a love affair between them started to circulate. Redford admits that he was very attracted to her, but claims he never touched her, because he “worried about the liabilities of intimacy with the women you act with.”

After a string of relationships with various actors, Natalie Wood met producer Richard Gregson through their mutual friend, Robert Redford; Gregson was Redford’s agent at the time and Redford was best man at their wedding. Natalie y Robert would team up once again in 1966’s This Property Is Condemned. She also appeared in the 1972 political drama, The Candidate, when her old friend asked her to do a cameo. Wood and Redford lost touch shortly after that. Their last encounter was in 1980 when Redford was trying to cast his directorial debut, the gut-wrenching drama Ordinary People, about a family torn apart by a young son’s passing. Natalie, whose career had cooled by this time, coveted the role of the cold, distant mother, but Robert Redford ultimately cast Mary Tyler Moore. Natalie was so upset she never spoke to Redford again feeling it was a betrayal. That was the last communication he had with her before she drowned. This still pains him to this day.

Tragically, in 1981, Natalie Wood lost her life in circumstances that remain mysterious to this day. Robert Redford was understandably left devastated by the loss of his friend, and despite his reputation as a private man, has often spoken about their connection. He narrated a glowing tribute to his former co-star for the Turner Classic Movies network and also agreed to be interviewed for the 2020 HBO documentary about Wood's legacy, What Remains Behind.

[lumoshyperion]

on the one hand, I'm devastated about the American productions being cut into one play, but on the other... as a writer and a theatre maker... it's a really interesting concept? when you work on a long running production of an established piece, it doesn't change that much after previews. there's always tweaks when the production goes to a new theatre, and particularly when it goes overseas, but for the most part it remains the same. the direction remains the same, the script remains the same. but now, for the first time since the show opened in london and subsequently broadway, it's going to undergo some massive changes? because yeah, they will be cutting scenes, but they will also be adding scenes. because you can't cut entire sections of the play without having to rewrite and rework the piece.

they're going to have to strip the play down to the most important themes, and then completely rework it from there. when it reopens on broadway, it'll be like an entirely new production. and I'm excited about that part of this change? I'm excited for the year three cast and the opportunity they have to essentially rewrite this story together, for a new audience, and within the context of what we've all been through since the show closed last year?

I understand everyone's frustrations, and I'm just as upset as you are, but I also want to look on the bright side of this decision? there's been... too much darkness and loss within the theatre community, and I'm tired of taking it lying down.

[lichlup]

back at it again with shit i can’t put on twitter because it feels weird

idk how to explain this but it is profoundly comforting to be transcribing these interviews and hearing people with 30 year careers or pulitzer prizes or tony awards talk about how devastated they are by the shutdown, and each and every one of them has been like “this was one of the most exciting moments of my career” for different, genuine reasons, and everyone is talking about the grief of working so hard for something and seeing it fall apart overnight

and of course i know that this whole industry must feel this way, but it’s bizarrely comforting to know that what have felt like personal tragedies -- sing street being postponed for michael, me starting a script reading internship at lincoln center that got snatched out from under me, both of us feeling like we were about to do something so exciting and embark on something amazing -- are felt even by people at the peak of their careers, who were just as excited about the new things they were about to do and grieving those losses

despite listening to literal hours of sad broadway shutdown conversations every day i am feeling very optimistic about the future and excited to return to this community when we can finally do that again

[insanityclause]

The 74th Annual Tony Awards, scheduled to air live on CBS on Sunday, June 7 from New York’s Radio City Music Hall, has been postponed and will be rescheduled at a later date, presenters announced today.

Presenters the Broadway League, the American Theater Wing and CBS will coordinate for the new date once the ongoing shutdown has been lifted. CBS has aired the ceremony for 42 consecutive years.

A brief statement released by a spokesperson for the awards said, “The health and safety of the Broadway community, artists and fans is of the utmost importance to us. We will announce new dates and additional information once Broadway opens again. We are looking forward to celebrating Broadway and our industry when it is safe to do so.”

The decision has largely been expected since Broadway shut down for a month on March 12 due to the coronavirus pandemic. The Broadway League, the trade organization representing theater owners and producers, confirmed last week that it was considering extending the shutdown beyond the initial target date of April 13 in keeping with suggested guidelines by the Centers for Disease Control that call for the cancellation until May of gatherings of 50 or more people.

The Tonys, Broadway’s ultimate marker of peer recognition, are the industry’s most significant national promotional endeavor, with victories often leading to significant increases in ticket sales (and losses often resulting in near-immediate closing notices).

This season’s crop of spring shows forced to postpone previews or opening nights due to the shutdown include Six, the hit pop musical from London and Chicago about the wives of Henry VIII; Tracy Letts’ The Minutes; the Jerry Zaks-directed musical adaptation of  Mrs. Doubtfire; director Sam Mendes’ The Lehman Trilogy; the Princess Di musical Diana; Company, the gender-switched revival of the classic Sondheim musical starring Katrina Lenk and Patti LuPone; Plaza Suite starring Matthew Broderick and Sarah Jessica Parker; How I Learned To Drive, the Paula Vogel play starring Mary-Louise Parker and David Morse; David Mamet’s American Buffalo starring Laurence Fishburne, Sam Rockwell and Darren Criss; the Off Broadway transfer of New York Theatre Workshop’s musical Sing Street; and the revival of Richard Greenberg’s Take Me Out starring Jesse Tyler Ferguson, Jesse Williams and Patrick J. Adams.

Earlier today, Roundabout Theatre Company announced that it was postponing until next season its Broadway production of Caroline, or Change, the revival of the Jeanine Tesori-Tony Kushner musical starring Sharon D Clarke, and Birthday Candles, the Noah Haidle play starring Debra Messing. Last week, producers for Hangmen and Who’s Afraid of Virginia Woolf? canceled their Spring productions, while Lincoln Center Theater – like Roundabout, a not-for-profit organization – postponed Flying Over Sunset until next season.

As Deadline reported last week, the Tony Award postponement was all but inevitable, given the April 23 eligibility cutoff date and what would have been a shortened window of Tony voter preview performances.

In recent days, several Broadway performers have disclosed positive coronavirus statuses or illness, including Moulin Rouge! star Aaron Tveit and Tony winner Gavin Creel.

And just yesterday, Broadway and theater lovers everywhere were devastated by the news that the great playwright Terrence McNally had died due to COVID-19. McNally received the 2019 Tony Award for Lifetime Achievement in the Theatre.

[randomtheatrethoughts]

An Update on Broadway and COVID-19

Short Update on the Current Condition:

As far as I know, Broadways is still expected to be shut down until April 12. But that could’ve changed, considering the amount of COVID-19 cases in the USA.

I’m sure many of you know that Moulin Rouge’s Aaron Tveit, the man himself, has contracted the virus. He did say that his symptoms were mild, almost like a cold, but he had lost his sense of taste and smell, which were some of the warning signs. This just shows how the symptoms can vary for each person. He is on the road to recovery and said he had been in quarantined since the shutdown. On Instagram, he posted:

“Hey everyone. I just wanted to update you all that I’ve found out that I’ve tested positive for Covid-19. I’ve been in quarantine since Broadway shows shut down on Thursday, March 12th, and I’m feeling much better. I consider myself extremely lucky that my symptoms have been very mild - cold like with no fever - as so many are experiencing much more serious symptoms, because this is a very dangerous virus. One thing I have been experiencing is the loss of taste and smell, which I think is a big sign for people who are otherwise asymptotic. I was tested last Monday, and just found out the results, however, I have been taking this situation extremely seriously, even before I was tested. I want everyone to realize that this can affect anyone. And even if you aren’t feeling sick or showing drastic symptoms - please take heed, stay safe, stay healthy and I hope to see everyone at the theater again soon. And I wanted to post this with a picture of Miles because, they’re loving all this extra time at home with their Humans!”

Other actors that tested positive for the virus include Matt Doyle, who also had relatively mild symptoms, and Chad Kimball, who had worse and more flu-like symptoms, but “not the worse flu I’ve ever had”.

The Tony Awards have been postponed, which has caused a lot of controversy among the theatre community. Personally, I don’t see why people are reacting negatively because IN MY OPINION, its still positive for us. We’re still going to see the Tony’s. We’re still going to get to watch those performances on the Tony’s. By pushing the Tony’s back, more eligible shows can have the time to perform for people including the Tony Committee, and therefore the shows can still receive a Tony Nomination. 2 shows, Who’s Afraid of Virginia Woolf and Hangmen will not be continuing their performances. In addition, Flying Over Sunset, Birthday Candles, and Caroline, or Change have been postponed their openings until the fall.

Actors are certainly devastated by the shutdown. On her YouTube channel, Krystina Alabado from Mean Girls the Musical said that she misses everything about performing and that it’s so weird having something you love being taken from you so suddenly.

And of course, we are all mourning the loss of the incredible Terrence McNally, an extraordinary playwright and director who unfortunately passed away due to COVID-19. “Devastated to hear this. One of the great joys of my professional life was getting to work with Terrence on Catch Me If You Can. I was constantly inspired by his amazing work which included pages of new dialogue on a preview day, flowing as if there was an unending well he was drawing from. One page better than the next. And I was so grateful for his gloriously supportive spirit. And I’m even more grateful to have gotten to know he and his dear husband Tom. We have lost a true legend of the American Theatre. Please watch his Documentary Every Act Of Life. Sending condolences and love to his family in this difficult time 💔❤️💔”- from Aaron Tveit’s Instagram

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I know I promised more posts, but I have no inspiration. Do you guys have any ideas on what you want me to post? Here are some options:

Moodboards for a specific musical, character, or song

Favorite Parts of [insert song here]

Fanfics

Letterings or Backgrounds of Lyrics

Analyzations of Songs

Any other suggestions?

Thanks! I love you all, stay healthy, and keep in mind your safety as well as everyone else’s. 💖💖💖

[lightsunbookspdf]

[PDF EBOOK EPUB] Live Your Life My Story of Loving and Losing Nick Cordero {Kindle}

[PDF EBOOK EPUB] Live Your Life: My Story of Loving and Losing Nick Cordero {Kindle}

Live Your Life: My Story of Loving and Losing Nick Cordero

[PDF] Download Live Your Life: My Story of Loving and Losing Nick Cordero Ebook | READ ONLINE

Author : Amanda Kloots Publisher : Harper ISBN : 0063078252 Publication Date : 2021-6-15 Language : eng Pages : 336

To Download or Read this book, click link below:

http://read.ebookcollection.space/?book=0063078252

[PDF EBOOK EPUB]

Synopsis : [PDF EBOOK EPUB] Live Your Life: My Story of Loving and Losing Nick Cordero {Kindle}

Amanda Kloots bravely reflects on love, loss, and life with her husband, Broadway star and Tony-nominee Nick Cordero, whose public battle with Covid-19 and tragic death made headlines around the world.In the early spring of 2020, Broadway star and Tony Award nominee Nick Cordero was hospitalized for what he and his wife, Amanda Kloots, believed was a severe case of pneumonia. Entering Cedars-Sinai, there was no indication that Nick—a young man in the prime of life with no pre-existing conditions—would never return home. Diagnosed with Covid-19, this rising star—who only a few days earlier was the picture of health—soon deteriorated. Suffering a series of complications – minor heart attacks, an amputation, sepsis—he was kept alive for weeks, hooked to a ventilator, bypass machines, dialysis, and a specialized heart-lung bypass machine. Staying strong for Nick and their infant son, Elvis, Amanda shared their journey on social media, documenting Nick’s condition and the risks of Covid-19 for all ages. Her updates quickly made an impact, inspiring millions of followers around the globe who offered positive thoughts and virtual prayers, and danced each day to Nick’s hit song Live Your Life. When Nick passed away after 94 grueling days in the ICU, the world grieved for Amanda and her family’s devastating loss.Live Your Life is her and Nick’s story: of their love and fairy-tale marriage, of the disease that quickly upended it, of the fight for Nick’s survival—those sudden tragic months that permanently changed her world and ours—of her grief and how she came to terms with his death, of keeping Nick’s memory alive for Elvis and the world. Offering courage and inspiration to anyone coping with overwhelming loss and written with her sister Anna Kloots who was with her every step of this journey, Amanda’s story is a thoughtful and poignant reflection on love, hope, motherhood, and the power of community in times of hardship. In sharing her experience, she shows us that, through positivity and community, even the most impossible circumstances can be endured. Live Your Life includes 16 pages of color photos exclusive to the book.

[freeepubpdf]

Ebook Live Your Life My Story of Loving and Losing Nick Cordero Read Online

Ebook Live Your Life: My Story of Loving and Losing Nick Cordero Read Online

Live Your Life: My Story of Loving and Losing Nick Cordero

[PDF] Download Live Your Life: My Story of Loving and Losing Nick Cordero Ebook | READ ONLINE

Author : Amanda Kloots Publisher : Harper ISBN : 0063078252 Publication Date : 2021-6-15 Language : eng Pages : 336

To Download or Read this book, click link below:

http://read.ebookcollection.space/?book=0063078252

??Download EBOoK@?

Synopsis : Ebook Live Your Life: My Story of Loving and Losing Nick Cordero Read Online

Amanda Kloots bravely reflects on love, loss, and life with her husband, Broadway star and Tony-nominee Nick Cordero, whose public battle with Covid-19 and tragic death made headlines around the world.In the early spring of 2020, Broadway star and Tony Award nominee Nick Cordero was hospitalized for what he and his wife, Amanda Kloots, believed was a severe case of pneumonia. Entering Cedars-Sinai, there was no indication that Nick—a young man in the prime of life with no pre-existing conditions—would never return home. Diagnosed with Covid-19, this rising star—who only a few days earlier was the picture of health—soon deteriorated. Suffering a series of complications – minor heart attacks, an amputation, sepsis—he was kept alive for weeks, hooked to a ventilator, bypass machines, dialysis, and a specialized heart-lung bypass machine. Staying strong for Nick and their infant son, Elvis, Amanda shared their journey on social media, documenting Nick’s condition and the risks of Covid-19 for all ages. Her updates quickly made an impact, inspiring millions of followers around the globe who offered positive thoughts and virtual prayers, and danced each day to Nick’s hit song Live Your Life. When Nick passed away after 94 grueling days in the ICU, the world grieved for Amanda and her family’s devastating loss.Live Your Life is her and Nick’s story: of their love and fairy-tale marriage, of the disease that quickly upended it, of the fight for Nick’s survival—those sudden tragic months that permanently changed her world and ours—of her grief and how she came to terms with his death, of keeping Nick’s memory alive for Elvis and the world. Offering courage and inspiration to anyone coping with overwhelming loss and written with her sister Anna Kloots who was with her every step of this journey, Amanda’s story is a thoughtful and poignant reflection on love, hope, motherhood, and the power of community in times of hardship. In sharing her experience, she shows us that, through positivity and community, even the most impossible circumstances can be endured. Live Your Life includes 16 pages of color photos exclusive to the book.

[orbemnews]

Musical performances at vaccination site help New Yorkers and struggling artists At Manhattan’s Javits Center, one of the busiest convention centers in the country in pre-pandemic times, roughly 9,000 New Yorkers shuffle through every day to receive their Covid-19 vaccines. Thanks to Sing for Hope, the non-profit arts advocacy group known for their colorful public pianos spread across the city, you can also be serenaded while receiving your vaccine. Through its daily performances inside the Javits Center, the organization helps tackle the dual problem of “rampant artist unemployment” and anxiety surrounding getting a Covid-19 vaccine, Monica Yunus, co-founder of Sing for Hope, told CNN. The group pays unemployed artists directly through donations, said Camille Zamora, Sing for Hope’s other co-founder. Zamora said most artists are instrumentalists who would normally play for ensembles, orchestras or in the pit for Broadway plays. As people wait the required 15 minutes after a vaccination to monitor any rare, adverse response, anxiety can run high, Zamora said. That’s where Sing for Hope comes in, to “use music’s power as a healing art in the truest sense on a vast scale.” The performances run the gamut: from jazz to classical to Broadway hits and gospel. “People are dancing, they’re toe-tapping, they’re wiping away tears,” Yunus said. “Every possible reaction you can have in a theater, that’s the reaction you’re getting there.” Damage to the arts industry remains It may have seemed like a pipe dream just months ago, but swaths of New Yorkers are now getting jabbed with vaccines that health experts say will eventually help the country return to post-Covid-19 normal. It’s no secret that the coronavirus has exposed healthcare inequity, food insecurity and the growing divide between the white collar, work-from-home “Zoom class” and everyone else. The arts have also been devastated. Financial losses nationwide to nonprofit arts and culture organizations have reached $16 billion due to shuttered concert halls, plays and other live performances, according to nonprofit Americans for the Arts. By the summer of 2020, 63% of artists or creatives experienced unemployment, Americans for the Arts spokesperson Inga Vitols told CNN. The national unemployment rate, meanwhile, hit a peak of 14.8% in April. By the end of July last year, analysts at Brookings estimated losses of more than $150 billion in sales for creative industries nationwide due to the pandemic. “Let’s talk about the fact that the arts are an economic driver. They’re not just a nice-to-have, they’re a need-to-have,” Zamora said. “We need to be talking about this in the highest channels of power. Because try to rebuild the cities without the arts — it won’t work.” Part of New York Gov. Andrew Cuomo’s plan to “build back better” is indeed revitalizing the arts through “NY PopsUp” performances, free to all New Yorkers. Sing for Hope is supported in part by the New York State Council on the Arts, along with the New York City Department of Cultural Affairs. Artists hope for a better “new normal” But for Zamora and Yunus, a post-Covid-19 “new normal” should be a step forward in fixing underlying issues in the arts community rather than reverting to the status quo. “We as citizens need to own this. If nothing else, I think this moment has allowed us to take a look around and say, ‘this is what’s important to me,'” Yunus said. “[Artists] were not able to collect unemployment until after a very long process that was very confusing and very difficult.” “I think we need to look more progressively ahead and not necessarily [do] funding through the normal channels,” said Philip Payton, a violist who has been performing at the Javits Center several times a week. For Payton, the performances have provided a much needed break. “It’s really the only consistent gig in New York right now,” Payton said. Though performers may ordinarily recoil at the thought of playing another universal crowd-pleaser like “Pachelbel’s Canon,” Payton said the audience response is what makes the performances worth it. “We get these incredible reactions — it’s really a privilege,” he said. Source link Orbem News #Artists #Musical #MusicalperformancesatvaccinationsitehelpNewYorkersandstrugglingartists-CNN #Performances #site #struggling #us #Vaccination #Yorkers

[dipulb3]

Musical performances at vaccination site help New Yorkers and struggling artists

New Post has been published on https://appradab.com/musical-performances-at-vaccination-site-help-new-yorkers-and-struggling-artists/

Musical performances at vaccination site help New Yorkers and struggling artists

At Manhattan’s Javits Center, one of the busiest convention centers in the country in pre-pandemic times, roughly 9,000 New Yorkers shuffle through every day to receive their Covid-19 vaccines.

Thanks to Sing for Hope, the non-profit arts advocacy group known for their colorful public pianos spread across the city, you can also be serenaded while receiving your vaccine.

Through its daily performances inside the Javits Center, the organization helps tackle the dual problem of “rampant artist unemployment” and anxiety surrounding getting a Covid-19 vaccine, Monica Yunus, co-founder of Sing for Hope, told Appradab.

The group pays unemployed artists directly through donations, said Camille Zamora, Sing for Hope’s other co-founder. Zamora said most artists are instrumentalists who would normally play for ensembles, orchestras or in the pit for Broadway plays.

As people wait the required 15 minutes after a vaccination to monitor any rare, adverse response, anxiety can run high, Zamora said. That’s where Sing for Hope comes in, to “use music’s power as a healing art in the truest sense on a vast scale.”

The performances run the gamut: from jazz to classical to Broadway hits and gospel.

“People are dancing, they’re toe-tapping, they’re wiping away tears,” Yunus said. “Every possible reaction you can have in a theater, that’s the reaction you’re getting there.”

Damage to the arts industry remains

It may have seemed like a pipe dream just months ago, but swaths of New Yorkers are now getting jabbed with vaccines that health experts say will eventually help the country return to post-Covid-19 normal.

It’s no secret that the coronavirus has exposed healthcare inequity, food insecurity and the growing divide between the white collar, work-from-home “Zoom class” and everyone else.

The arts have also been devastated.

Financial losses nationwide to nonprofit arts and culture organizations have reached $16 billion due to shuttered concert halls, plays and other live performances, according to nonprofit Americans for the Arts.

By the summer of 2020, 63% of artists or creatives experienced unemployment, Americans for the Arts spokesperson Inga Vitols told Appradab. The national unemployment rate, meanwhile, hit a peak of 14.8% in April.

By the end of July last year, analysts at Brookings estimated losses of more than $150 billion in sales for creative industries nationwide due to the pandemic.

“Let’s talk about the fact that the arts are an economic driver. They’re not just a nice-to-have, they’re a need-to-have,” Zamora said. “We need to be talking about this in the highest channels of power. Because try to rebuild the cities without the arts — it won’t work.”

Part of New York Gov. Andrew Cuomo’s plan to “build back better” is indeed revitalizing the arts through “NY PopsUp” performances, free to all New Yorkers. Sing for Hope is supported in part by the New York State Council on the Arts, along with the New York City Department of Cultural Affairs.

Artists hope for a better “new normal”

But for Zamora and Yunus, a post-Covid-19 “new normal” should be a step forward in fixing underlying issues in the arts community rather than reverting to the status quo.

“We as citizens need to own this. If nothing else, I think this moment has allowed us to take a look around and say, ‘this is what’s important to me,'” Yunus said. “[Artists] were not able to collect unemployment until after a very long process that was very confusing and very difficult.”

“I think we need to look more progressively ahead and not necessarily [do] funding through the normal channels,” said Philip Payton, a violist who has been performing at the Javits Center several times a week.

For Payton, the performances have provided a much needed break.

“It’s really the only consistent gig in New York right now,” Payton said.

Though performers may ordinarily recoil at the thought of playing another universal crowd-pleaser like “Pachelbel’s Canon,” Payton said the audience response is what makes the performances worth it.

“We get these incredible reactions — it’s really a privilege,” he said.

[techcrunchappcom]

New Post has been published on https://techcrunchapp.com/nick-cordero-celebrities-broadway-stars-react-to-actor-death-fox-news/

Nick Cordero: Celebrities, Broadway stars react to actor death - Fox News

Celebrities and Broadway stars came together on social media to mourn the death of Tony-nominated actor, Nick Cordero, who died Sunday morning from coronavirus complications at 41.

His wife, Amanda Kloots — who had posted regular updates on his condition — shared news of his passing to the world on Instagram.

“God has another angel in heaven now. My darling husband passed away this morning. He was surrounded in love by his family, singing, and praying as he gently left this earth,” she wrote on Sunday. “I am in disbelief and hurting everywhere. My heart is broken as I cannot imagine our lives without him. Nick was such a bright light.”

NICK CORDERO DEAD AT 41 AFTER CORONAVIRUS BATTLE, WIFE AMANDA KLOOTS ANNOUNCES

Cordero had entered the intensive care unit at Cedars-Sinai Medical Center in Los Angeles on March 31 after contracting COVID-19. The star had endured several difficulties during his over 90-day hospitalization, including a leg amputation and multiple mini-strokes while battling several other ailments. His battle with the virus had attracted nationwide attention from inside and outside the theatre world, with many lending support and hoping that he would eventually pull through.

Fellow Broadway stars, including “Hamilton” creator Lin-Manuel Miranda, paid tribute to the actor following his death.

“Devastating. What a loss, what a light. Whole heart with Amanda and his family tonight,” Miranda wrote.

Phillipa Soo, who starred as Eliza Schuyler Hamilton in the Broadway Musical, shared a GoFundMe page for the Cordero family which has already raised more than $730,000 as of early Monday.

“My heart breaks. Rest In Peace Nick. Please everyone, be safe, take care of each other. What a loss…so devastating…,” she wrote.

Tony Award-winning actress, Bernadette Peters wrote: “RIP Nick Cordero Sending love to Amanda and [his son] Elvis.”

Josh Gad, who starred in “The Book of Mormon” and voiced Olaf in the “Frozen” franchise wrote: “My heart is broken. I feel ill. Along with the entire Broadway community and the entire world, I mourn the loss of the incredible Nick Cordero and send my sincerest love and prayers to ⁦@amandakloots, Elvis & and [the] entire family. RIP Nick.”

Celebrities also took to social media to mourn his death.

Ben Stiller, who lost his father, Jerry Stiller in May, wrote: “Sending love and deep condolences to the family of Nick Cordero.”

CELEBRITIES WHO HAVE DIED FROM CORONAVIRUS

“Rest easy to an amazing person, family man & talent. So so sad,” said actor Michael Rapaport.

“Nick Cordero passed at 11:40 am today with his mother and wife by his side,” wrote “Scrubs” actor Zach Braff. “I can honestly tell you I have never met a kinder human being. Don’t believe that COVID only claims the elderly and infirm. I am so grateful for the time we had. “We’ll catch up some other time.”

Priscilla Ann Presley, former wife to Elvis Presley, who starred in the “Naked Gun” comedy films wrote: “I’m so shocked to see the news today that Nick has passed. My heart and soul goes out to Nick Cordero’s beautiful wife and family. Rest In Peace, Nick.”

“RIP Nick Cordero! My condolences to you Amanda who fought and loved so hard….so sorry for his little one. My heart is with you. May flights of angels…..,” said Acadamy, Emmy, and Tony Award-winning actress Viola Davis.

“Modern Family” star Jesse Tyler Ferguson, who also starred in Broadway’s “The 25th Annual Putnam County Spelling Bee,” talked about the “incredibly sad news” while also discussing the severity of the coronavirus.

Nick Cordero arrives at the Drama Desk Awards in New York on June 1, 2014. Tony Award-nominated actor Cordero, who specialized in playing tough guys on Broadway in such shows as “Waitress,” “A Bronx Tale” and “Bullets Over Broadway,” has died in Los Angeles after suffering severe medical complications after contracting the coronavirus. (Photo by Charles Sykes/Invision/AP, File)

“Incredibly sad news. Can we please do what we need to do as a country to fight this virus together? It doesn’t care how healthy you are. It doesn’t care if you want to go to Fire Island. It doesn’t care if you are tired of wearing a mask. Reign. It. In,” he wrote.

Fox News’ Frank Miles contributed to this report

[insanityclause]

In the longest scheduled extension to date of the blackout of Broadway theaters prompted by the COVID-19 pandemic, trade organization the Broadway League announced Tuesday that the 41 top-tier New York theaters that went dark March 12 will remain that way at least through Sept. 6.

That's a full three months beyond the last extension, which bumped back the original April 12 end date for the closure to June 7. However, few pundits are expecting to see theaters open for business Sept. 8, the day after Labor Day, which falls on a Monday when most Broadway theaters remain dark. The situation seems likely to be reevaluated as that date approaches, with producers and theater owners adopting a wait-and-see policy in accordance with state guidelines and other safety and economic considerations.

"No one wants to get too far ahead of the governor on this," said one prominent producer who spoke off the record.

"While all Broadway shows would love to resume performances as soon as possible, we need to ensure the health and well-being of everyone who comes to the theater — behind the curtain and in front of it — before shows can return," Broadway League president Charlotte St. Martin said Tuesday in a statement. "The Broadway League's membership is working in cooperation with the theatrical unions, government officials and health experts to determine the safest ways to restart our industry. Throughout this challenging time, we have been in close communication with Gov. [Andrew] Cuomo's office and are grateful for his support and leadership as we work together to bring back this vital part of New York City's economy — and spirit."

The League's decision follows last week's announcement from the Society of London Theatres, extending the shutdown of live entertainment venues in the British capital through June 28. Like Broadway, that date appears to be a marker rather than a set plan for reopening. West End theaters have been canceling performances on a rolling basis, which seems certain to continue through the summer.

Broadway was the first sector in New York to impose a blanket suspension of operations on March 12, and most insiders expect it to be one of the last to come back.

In a sign that producers are approaching reopening with the utmost caution, the Broadway revival of Neil Simon's Plaza Suite, starring Matthew Broderick and Sarah Jessica Parker, announced Tuesday that it will be pushed back by a full year, with the limited engagement now scheduled for March 19-July 18, 2021, at the Hudson Theatre. Directed by Tony-winning actor John Benjamin Hickey, the comedy was originally scheduled to begin previews March 13, the day after the Broadway shutdown, and was one of the fastest-selling productions of the spring.

"We remain deeply committed to bringing Neil Simon's Plaza Suite to New York as promised and cannot wait to help welcome audiences back to our beloved Broadway," said Broderick and Parker in a statement. "Until then, everybody please stay safe."

While some have floated the idea of theaters reopening with socially distanced seating plans, few if any producers think that model would work given Broadway's exorbitant running costs. The more likely scenario involves temperature checks for theatergoers along with compulsory masks and gloves, no intermissions and deep-disinfectant cleaning of auditoriums between performances. But many questions remain, including how to provide adequate protection for actors in productions that don't allow for social distancing. 

The famous William Goldman quote about the film industry seems especially applicable to post-pandemic Broadway: "Nobody knows anything." But the smart money seems to point to an early-2021 reopening, with anecdotal estimates ranging from January through March.

In what could turn out to be a harbinger of things to come for many of the country's stages, Minneapolis' Guthrie Theater, one of America's largest and most respected nonprofits, last week took the bold step of announcing that operations will resume with a compressed mini-season of just three productions running March-August 2021. That represents a massive reduction from the originally scheduled 11 shows, with a budget slashed from $31 million to $12.6 million. Those drastic measures make necessary allowances for the time required to build and rehearse productions, underscoring the complicated logistics for the theater sector of emerging from lockdown.

A Shugoll Research industry survey this month indicated that only 41 percent of New York theatergoers say they are likely to return when theaters resume activity, while almost 1 in 5 people, or 17 percent, say they are very unlikely. More than half those polled, or 58 percent, said they will wait at least a few months before attending a show.

When theaters went dark, the 2019-20 season was just a little beyond the midway point, with another 16 productions scheduled to open before the April 23 cutoff for 2020 Tony Awards consideration. An announcement was made March 25 that due to the coronavirus shutdown, the Tonys would be postponed to a later date to be set once Broadway resumes activity.

Two Broadway shows that had begun previews when the lights went out — Martin McDonagh's Hangmen and a revival of Edward Albee's Who's Afraid of Virginia Woolf? — have already announced they will not reopen after the suspension ends. Other shows from nonprofit producers that were about to begin performances have been pushed back to next season, including Roundabout's Birthday Candles and Caroline, or Change; Lincoln Center Theater's Flying Over Sunset; and Manhattan Theatre Club's How I Learned to Drive.

With Plaza Suite also now postponed, that still leaves nine incoming productions in limbo, some of which had minimal advance sales and muted buzz at the time of the shutdown, even less so now. How many of those will forge ahead with opening plans remains to be seen. Uncertainty also hangs over established shows that had started to see a slight decline in business after the initial boom period — Mean Girls, Harry Potter and the Cursed Child and even Disney's Frozen among them.

Many are quietly wondering about the wisdom of coming back to half-empty houses even for long-running behemoths like The Phantom of the Opera, which relies heavily on tourism for the majority of its traffic. Even the most optimistic estimates don't anticipate the return of tourists to New York in sizable numbers before summer 2021 at the earliest.

If most of Broadway's 41 houses do reopen, the likelihood of swift financial casualties and prompt closings could mean many prime venues will sit vacant for the first time since the slump of the 1980s and early '90s. The steady growth since then, which propelled Broadway to a record $1.8 billion in grosses last season with attendance of 15 million, now inevitably seems headed for a major reset. Some industryites are asking whether this will mean renegotiating ticketing price scales, landlord percentages and union rates to bring down the prohibitive costs that put Broadway off limits to many entertainment consumers.

Losses to the sector are difficult to calculate, especially with no certainty about a reopening date, but 2019 box office grosses for mid-March through Labor Day totaled $915 million. Industry analysts generally estimate that factoring in the losses to theater-district businesses fed by the Broadway economy — hotels, restaurants, bars, parking garages, taxis and car services — means multiplying total ticket sales by three. That would peg the overall financial blow for the six-month period at a staggering $2.7 billion. At any rate, the impact on one of New York City's principal economic drivers and job pipelines will be devastating, with the fallout sure to be felt for years to come.

As for the Tony Awards, there are two principal schools of thought about which way to go.

Some are lobbying to put a cap on the partial season and present awards for the shows that opened before March 12. This, however, would handicap recent openings like West Side Story and Girl From the North Country given that not all of the Tony Nominating Committee will have seen them and certainly not the majority of voters. Shows that opened early in the season, on the other hand, like Moulin Rouge! and the limited-engagement, Tom Hiddleston-led revival of Harold Pinter's Betrayal, would have an advantage.

The alternate plan is to combine the truncated partial 2019-20 season with any shows that open between the resumption of Broadway operations and the late-April cutoff for 2021 Tony consideration, presenting the double awards at a ceremony in June next year. That option also has clear disadvantages for some, however, given that voters have notoriously short memories and shows like Betrayal or The Inheritance that have long closed will be ancient history by then.

Whichever route the Tonys choose to go, there are sure to be disgruntled players. But even a partial ceremony of outstanding Broadway artistry right now could serve as a much-needed morale booster to a sector facing unprecedented challenges.

[addictionfreedom]

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