In the best new play category, nods were distributed to Tom Stoppard’s “Leopoldstadt,” which explores Jewish identity with an intergenerational story, and “Fat Ham,” James Ijames’ Pulitzer Prize-winning adaptation of Shakespeare’s “Hamlet” set at a Black family’s barbecue in the modern South. And I think that is a message that we need to get out there. The show doesn’t say there aren’t going to be strange and horrible people in your life. “It’s a special event that celebrates our collective humanity,” she said. “I hope she addresses me properly now when I see her,” she joked.Ĭlark, who was nominated for best lead actress in a musical, hopes to add a second Tony to her trophy case, having previously won one in 2005 for “The Light in the Piazza.” But more than that she hopes more attention will be paid to her show, which she calls a “little under the radar.” The actor had just dropped her daughter, almost 3, off at ballet class on Tuesday morning. Three shows tied with nine nominations each: “& Juliet,” which reimagines “Romeo and Juliet” and adds some of the biggest pop hits of the past few decades, “New York, New York,” which combined two generations of Broadway royalty in John Kander and Lin-Manuel Miranda, and “Shucked,” a surprise lightweight musical comedy studded with corn puns.īetsy Wolfe, in her eighth Broadway show, earned her first nomination in “& Juliet,” playing Anne Hathaway, Shakespeare’s wife. “I think the pandemic put a lot of things in perspective, both in terms of improvements we needed to make in the community and also just the way that everybody’s feeling about the world and about being a human,” said Ben Platt, nominated for “Parade.” “The art people are making has a real urgency and a real purpose.” This advertisement has not loaded yet, but your article continues below. Manage Print Subscription / Tax Receipt.While none of the younger actors can act (maybe besides Wojciechowski, who smuggles some emotional tones into his limited on-screen time), what is even more disappointing are performances from the older generation of actors, particularly Fabijanski, who gives the most mannered performance in his career. But the latter, as opposed to this one, had sparkling dialogues (which here are rote) and great actors (who here are pedestrian). It’s a super interesting complex setting that could result in the highs of similarly themed films, such as amazing Bodies Bodies Bodies. At the same time, the seaside bacteria turns people into zombies, and local drug-dealing groups wonder how to profit during the no-partying lockdown-inflicted times. A group of teenagers with different socio-economic privileging travels to the Polish seaside, at some point in between (or maybe during) several lockdowns to have a post-matura exam party in the mansion owned by the ultra-rich parents of one of them. filmafterfilm honor swinton byrne the souvenir the souvenir part 2 joanna hogg tilda swinton harris dickinson ariane labed joe alwyn tosin cole alice mcmillan tom burke richard ayoadeĪ great idea, mixing the COVID-19 fear with the eco-horror imagery, is thwarted by horrible execution. The film is at its most spectacular in the scenes from the film set, like the one where Byrne reacts to questions about her film protagonist’s (and therefore her own) characterization, “implausible,” as her lead actress frustratingly notes. The supporting players are all great, particularly, to my surprise, Ayoade, who somehow transcends his well-established TV persona, creating a role of an incredibly frustrated artist, who is first incredibly annoying and then generates unexpected amounts of empathy. Already a revelation in the previous film, Byrne has grown even more as an emotionally attentive actress, somehow mirroring plausibly the arch of her character. Gradually though, it turns its attention onto the protagonist’s process of becoming a filmmaker, while she learns, hard-way, how to translate the story of her relationship onto film. This incredibly superior sequel to the gut-punching first “Souvenir” starts with the immediate aftermath of the latter’s tragic ending, therefore becoming, especially in its first half, a study on dealing with grief.
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