The 94th Oscars will be held at the Dolby Theatre at Hollywood & Highland Center in Hollywood, its usual venue. Last year's telecast was broadcast from Union Station, as a concession to COVID protocols that required smaller crowds.” />
“The power, the beauty, the romance of the imagery in movies has always attracted me. I’m fully embracing the challenge of bringing an ode to one of the most iconic mediums in the world to life. What an honor!” said Packer.
Shayla Cowan, chief of staff of Will Packer Productions and Will Packer Media, will serve as co-producer alongside Packer.
Many wonderful surprises ahead!” said Academy president David Rubin and Academy CEO Dawn Hudson. “Will is a powerhouse producer who has enjoyed success across all movie genres. He’s already bringing a boundless energy and a focus on innovation to this year’s Oscars to entertain the widest spectrum of fans.
This marks Packer's first time producing the Oscars, which will air live on ABC and broadcast outlets worldwide on Sunday, March 27, 2022. Packer has shown a deft touch identifying and producing projects that are broadly commercial. His credits include “Girls Trip,” “Straight Outta Compton,” and "Ride Along." His television work includes “That Girl Lay Lay,” “Blackballed,” “Ambitions,” “Bigger,” “Being Mary Jane,” “Uncle Buck” and the remake of “Roots,” for which he received an Emmy nomination. He is the founder and CEO of film production company Will Packer Productions and Will Packer Media, a television, digital and branded content company.
The 2021 broadcast was produced by Jesse Collins, Stacey Sher, and "Traffic" director Steven Soderbergh, whose promise to make the ceremony more cinematic resulted in a pretty epic opening credits sequence with Regina King strutting down a long hallway, but aside from that mostly fell flat. A decision to make the best actor prize the last of the night backfired when Anthony Hopkins scored an upset victory for "The Father" over "Ma Rainey's Black Bottom's" Chadwick Boseman, whose death in 2020 at the age of 43 had stunned Hollywood.
Will Packer will produce the 94th Oscars. It represented a new low in viewership. He takes the reins of the show at a time when the broadcast and those of other awards shows are struggling to remain relevant. Last year's telecast, which took place in the shadow of the COVID pandemic and at a time when the global box office was a shadow of itself, drew 9.23 million viewers, a 51% drop from the 18.69 million who tuned into the program in 2020.
“Will is a world-class hitmaker and the ideal producer to capture the prestige of ‘The Oscars’ and deliver a powerful and moving event.” “There is no one better than Will Packer to celebrate our collective love for cinema,” said Craig Erwich, president, Hulu Originals and ABC Entertainment.

Coben is co-writing the series along with Charlotte Coben. Erik Barmack is also executive producing along with MGM’s Rola Bauer. Patricia Cardoso will direct the pilot and executive produce.” /> He will also serve as showrunner and executive producer following the exit of originally announced showrunner Ed Decter.
Constance Zimmer has joined the cast of the YA pilot "Shelter" at Amazon, Variety has learned exclusively.
She is repped by UTA and Sweeney Entertainment.
Variety exclusively reported on the project in April. MGM has acquired the rights to all the other books in the Mickey Bolitar series as well. The pilot will film this fall in New Jersey. “Shelter” is the first novel in Coben’s Mickey Bolitar book trilogy. According to an individual with knowledge of the project, should “Shelter” get ordered to series, it could go either to Amazon Prime Video or to IMDB TV.
But Shira has her own side to the story and her own reasons for returning to the hometown she mysteriously fled from all those years ago. Zimmer will star as Shira Bolitar, Mickey's aunt and a severely Type-A prosecutor in the midst of a messy divorce. She has moved back to New Jersey to take care of her nephew, who wants nothing to do with her due to a generational family rift.
Zimmer received an Emmy nomination in 2016 for best supporting actress in a drama for her work on the critically-acclaimed Lifetime series "UnReal." Zimmer made her directorial debut on the show as well, helming episodes during its third and fourth seasons. She is also known for her roles on shows like "Good Trouble," "Shameless," "Condor," "Entourage," and "Boston Legal."
It tells the story of high school junior Mickey Bolitar (Michael) as he navigates his new life with a mom in rehab, a dead father, an annoying aunt, and a new school in New Jersey with a camel as its mascot. Zimmer joins previously announced series lead Jaden Michael. And a creepy old lady who may or may not be a ghost just told him on his way to school that his father isn’t dead. “Shelter” hails from Amazon Studios and MGM International Television Productions. Then Mickey meets and falls for Ashley Kent, another new student who’s lived through her own tragedy. But when Ashley goes missing, Mickey searches for her and learns that everything she told him was a lie and that he is in serious danger unless he gets to the bottom of what happened to her and his father.

"It's a big nothingburger," the official said.
Union negotiators are seeking a minimum 54-hour weekend turnaround, which has been provided in other contracts. The unions are seeking greater rest periods and longer "turnaround" times between shifts. The Basic Agreement and the Area Standards Agreement, which cover about 60,000 below-the-line workers coast-to-coast, expired on Sept. 10. Crews also have focused on the issue of "Fraturdays" — late Friday shifts that end on Saturday morning.
There are a handful of separate contracts that would not be affected, including those that cover low-budget films and shows made for HBO, Starz, BET and Showtime.” /> Matthew D. Loeb, the international president, has the power to call a strike at any time, which would shut down most film and TV production across the country.
The Alliance of Motion Picture and Television Producers, which represents the studios, presented its latest proposal. A union spokesperson said the offer was being reviewed.
Negotiators from the International Association of Theatrical Stage Employees and the studios returned to the bargaining table on Tuesday in hopes of averting a TV and film production strike, but no deal was immediately in sight.
Other union officials have been optimistic that a resounding strike authorization vote — with almost 99% voting in favor — would lead to enough concessions to reach a deal within the next few days.
The turnout was extraordinarily high, at 90 percent, showing that the membership is fully engaged on the fight for a new three-year contract. More than 52,000 members voted to authorize a nationwide strike, which would be the first in the union's 128-year history.
But one union official said that the offer was little different, in substance, from the employer group's previous proposal, and that no progress had been made.


 ” />
In 2020, the lineup for the third annual Innings Festival included the Dave Matthews Band, Weezer and Jason Isbell.
The Innings Festival is produced by C3 Presents, the team behind Lollapalooza, the Austin City Limits Music Festival and New Orleans' Voodoo Music + Arts Experience, among other annual music gatherings.
Tied loosely to the startup of baseball fever in the desert city, the festival took a pandemic break this year but will be back in early 2022 with Foo Fighters and Tame Impala as headliners of the the two-day concert gathering.
In keeping with the theme of "a festival for passionate baseball fans to come together," attendees can also expect an "all-star baseball jam" hosted by big-league-pitcher/musician Jake Peavy, and appearances by ballplayers including Ryan Dempster, Roger Clemons, Dave Stewart and Rick Sutcliffe.
Prices range from $105 for single-day general admission to $1150 for two-day platinum passes, which includes complimentary drinks and buffets and front-of-stage viewing. Tickets go on sale Wednesday at 10 a.m. A total of 18 artists will take to three stages over the two days. PT here.
The 2021 baseball season isn't quite over yet, but some rock fans are already looking forward to spring training next year, if only for the opportunity it provides for a resumption of the Innings Festival in Tempe, Arizona Feb. 26-27.
Others on the bill at Tempe Beach Park & Arts Park include St. Vincent, My Morning Jacket, Black Pumas, Billy Strings, White Reaper, Dashboard Confessional, Fitz and the Tantrums, Jade Bird, Low Cut Connie and Girlhouse.

Tickets are currently on sale for $35. Visitors can also trick-or-treat across 10-12 houses in the Town of Haunt-o-Ween, before hopping on the ground's 40-foot tall carousel. A perfect family event, Los Angeles' Haunt-O-Ween is an expansive playground, featuring dozens of Halloween activities such as pumpkin carving and face painting. Plus, parents can have their own fun by visiting the Malibu Wines tasting garden.
Catacombs by Candlelight Tour (New York)
You can still take part in the fun from home, with this virtual mixology class. After purchasing your tickets, which go for $50 apiece, Fever Up will deliver all the ingredients you need for to make three mystical, smokey cocktails. The hour-long interactive class includes cocktail-making techniques and step-by-step recipes including ingredients such as mezcal, gin, and lambanog. You can pick dates and time that work with your schedule through the end of October, but slots are going fast so you'll want to act fast.” />
Both visitors and locals will appreciate this interactive ghost tour through San Francisco's most historic neighborhoods. The tour will begin at 450 Sutter Building a mysterious building covered with intricate neo-Mayan carvings before moving through the doors of the Pacific Union Club, the old mansion that can't seem to rid itself of a ghost from its past life. Finally, the expert tour guide will lead visitors through Nob Hill, one of the most iconic areas in the city, where countless unexpected disasters and compelling horror stories have unfolded.
The talented Listeso String Quartet will play classical renditions of beloved Halloween theme songs, from shows and movies such as "Ghostbusters," "The Addams Family," "Beetlejuice" and "Stranger Things." Tickets are currently available for shows through the end of the month, starting at $55 per person. Tickets are selling fast for this Halloween-themed concert, taking place at the stunning open-air venue in Gasser Garden.
Jack the Ripper Tour (London)
Haunted Hollywood Tour (Los Angeles)
House of Spirits: A Haunted Cocktail Soiree (Los Angeles and New York)
Plus, visitors can ask a giant ouija board questions and interact with spirits and magicians. Running through Oct. The two-hour event will follow a spooky storyline focused on the demise of the Vasiliev family, inspired by the real-life history between Rasputin and the Romanov royal family. 31st, the top-selling House of Spirits Experience in Los Angeles invites visitors to the York Manor where they can take part in a cocktail soiree, centered around five miniature cocktails inspired by the mansion's ghostly spirits.
The event also takes place in New York, where visitors can experience the haunting tale of Molly and Francisco Vega, a young couple who lost their couple during childbirth.
Below are the best ones taking place in Los Angeles, New York and London, with dozens more options across the globe to choose from on Fever's website. From a haunted Hollywood tour, chronicling some of Los Angeles's most grisly murders, to a virtual witchcraft mixology class taught by an expert bartender, there are countless immersive and interactive Halloween events to choose from this year.
Read More: Travel to the Upside Down in Netflix's 'Stranger Things' Immersive Experience
Those in London are invited to this thrilling walking tour, which hits all the sites where the infamous Jack the Ripper performed his grisly murders. Tickets are currently available for $27. The interactive, two hour experience, which includes informative bits about the salacious Victorian life of the 1880s, is perfect for horror and history buffs alike.
Spooky Spirit Mixology Class (Virtual) Witchcraft!
City Ghost Tour (San Francisco)
Candelight: A Haunted Evening of Classical Compositions (San Francisco)
And if you're still getting your costumes set up, make sure to check out The Best Pop Culture Halloween Costumes for 2021.
Get a real-life fright with this Catacombs tour, which takes place beneath the Basilica of the storied St. The catacombs at St. The 90-minute tour,  led by a professional guide, will take up to 25 visitors through the hundreds of crypts found underneath the nave of the 200 year-old church. Patrick's are the only ones found in New York, and part of only a handful in the U.S. Patrick's Old Cathedral in Manhattan.
Haunt O' Ween (Los Angeles)
Tickets for the hour-long tour, which runs through Oct. This haunted Hollywood tour begins at the famous El Capitan Theatre before taking visitors through the scenes of of crime, murder, accidents and traumas that still echo through Hollywood Boulevard and other iconic streets. 11., start at $26 per ticket, with the option to make a detour for four more terrifying stories. Experience Hollywood in a way you never have before.
For many of us, Halloween is a month-long holiday. And thankfully, there is no lack of horror-themed events to get you into the spooky spirit throughout October, before you go house to house on the 31st.
Candlelight: Halloween Film Scores and Classics (London)
Immerse yourself the stunning architecture of the iconic Butcher's Hall in London while enjoying the gorgeous classical renditions of your favorite Halloween film scores. The hour-long concert will include the thrilling soundtracks from iconic films such as "The Nightmare Before Christmas," "Harry Potter" and newer favorites such as "Knives Out." The hour-long concert takes place on Oct. 31 at both 7:30 and 9:30 p.m.

The rest, of course, was silence. 27 opening. Or it was until re-rehearsals for the highly anticipated Broadway revival of the Tony Kushner and Jeanine Tesori musical began, ahead of previews starting Oct. 8 prior to an Oct.
It opened in a West End revival with a unique twist: the limited three-month run had not one but four diverse casts. That was the play to which Longhurst returned the moment the U.K’s COVID restrictions were lifted in June. The show’s New York incarnation will not be 40-year-old Longhurst’s Broadway debut. (The production, with all four casts, can be streamed digitally this month at the Donmar's website.) That came almost seven years ago with the U.S. premiere of “Constellations,” Nick Payne’s time-splitting, life-and-death two-hander about a quantum physicist and a beekeeper, which starred Jake Gyllenhaal and Ruth Wilson.
The online production was then streamed worldwide. At the same time, Longhurst has continued as artistic director of the Donmar, the 250-seater in Covent Garden that Stephen Sondheim once declared to be “the greatest theater in the English-speaking world.” Ten months into the job when the shutters came down, he has found novel ways of producing work, including Adam Brace’s solo piece “Midnight Your Time,” a portrait of long-distance motherhood with Diana Quick that he first directed ten years ago and which he re-conceived as a succession of video messages by the mother. And then there was “Blindness,” which he notes has been “a way for theaters to re-open when they can.”
Happily, he knows he doesn’t have to work on the central performance, since Clark, his star, is fired up and ready to go. He’s welcoming the opportunity to once again refine his production with its band of 14 and strong cast.
Looking at the wider theater landscape, he speaks strongly about looking at who gets to write and direct. “It’s important that we make space to shift commissioning budgets to where they should be,” he insists. “But it’s also pleasing to know that Nick, a working-class white boy from Luton, has written this character and that Sheila Atim can just go, ‘This feels like me and I can put myself squarely in this. There’s a universality that I can draw on.’”
“The combined force of Tony [Kushner] and Jeanine [Tesori] – it’s thrilling the way they complement and challenge each other. And, once again, Tony turns out to be a prophet. “It’s an astonishing story,” he says. In a domestic setting he tells the story of a whole society in a single moment, and he’s pegged it all on a statue being pulled down.”
In the interim, Longhurst has emerged as a leading figure in bringing theater back to life on both sides of the Atlantic.
Longhurst opened the first British production of the landmark musical in May 2017 at Chichester Festival Theatre, the vigorous regional producing house on the U.K.’s south coast. Now he’s directing the first post-shutdown show at the Roundabout Theater’s Studio 54 on Broadway, “Caroline, or Change.” Even before the pandemic, the Broadway run had been a long time coming. Rhapsodic reviews took it to the off-West End Hampstead Theatre a year later for a sold-out run, and then into the West End where its star, Sharon D. Clarke won the Olivier (her third) for her explosive performance in the title role.
“A hundred thousand people usually see the Donmar work in a year. Like most in the industry, he balks at the idea of seeing advantages deriving from COVID but is excited by the increased access of online initiatives. Twenty-five thousand alone watched Diana’s piece, and far more saw ‘Blindness.’”
Like everyone on Broadway at that moment, British director Michael Longhurst remembers exactly where he was when the COVID-19 shutdown came. It was devastating, but spirits remained strong: “We all said goodbye and ‘See you in a few weeks.’” “We had just done our dress rehearsal of ‘Caroline, or Change’ and were gearing up to bring the public in,” he recalls.
Its 70-minute running time meant they could run 12 performances a week using two casts. commercial theater troupes have been given neither lump sums nor insurance to protect them from infection closures, this was an incredibly inventive safety measure. If one cast were to become unable to perform due to illness, others would automatically be available. This ultimately proved unnecessary, but since U.K.
“It’s the difference between a newly graduated Ph.D. The way mortality and love is experienced at different life stages becomes keenly focused.” Longhurst points to the contrasts in seeing Douglas and Wanamaker in the same role. student and someone who would have lived through the birth of string theory.
Having worked in key regional theaters and all the major London addresses from the Almeida and the Royal Court to the Young Vic, he overcame stiff competition to take over as artistic director of London’s venerable Donmar Warehouse, the venue that made the international careers of previous incumbents Sam Mendes, Michael Grandage and Josie Rourke. And prior to his return to New York for “Caroline,” he helped resuscitate theaters on the West End with a revival of the play “Constellations” with a rotating, diverse cast, in a reimagination of the show that felt right in step with the broader industry’s movement toward greater equity and inclusion. At the Donmar, he had a guiding hand in “Blindness,” the recorded audio drama/sound installation with in-person audiences that, in the depths of the pandemic, toured cities in North America, Mexico, Ireland and then across the U.K.
But as soon as he re-considered the play, which is built around the idea of parallel universes, he began having ideas. The idea sprang initially from practicality. Like all directors, he was looking for a small-cast show because the fewer the people, the smaller the potential for infection possibilities.
Speaking personally, I find it incredibly moving to watch the gay couple, and in not ‘a gay play’: Nobody dies of AIDS, it’s not about open relationships going wrong or all those sorts of stories that’s I’m so used to being told are the most important things about my identity.” He’s also proud of how the production has drawn different audiences keen to see versions of themselves. “It’s really affecting to see yourself represented on stage if you haven’t before.
Longhurst considers himself privileged to be able to put this story on Broadway at this precise moment, pointing to its engrossing complexity and the portrait it draws: “Not just of Caroline, but that whole family and of the nuances of race relations in that period, how privilege is taken for granted, how offense is caused. Caroline’s journey is tragic, but her struggle is acknowledged by the next generation.”
That part of the job, for him, is simple. “I can’t wait to give her the Broadway platform she deserves.”” />
He’s also very collaborative, and this mix was made gloriously manifest in his approach to ‘Amadeus.’ His team worked brilliantly together and the result — delicious acting, terrific use of the space and a complete dancing orchestra — was a glorious example of total theater." Rufus Norris, artistic director of the National Theatre — where Longhurst directed a hit revival of "Amadeus" — is clear-eyed as to why Longhurst has risen so swiftly. “He has a very particular skillset as a director, combining excellent dramaturgical insight and emotional subtlety with lovely flair.
The second half of the run was played by a mixed-race couple of out gay actors Omari Douglas (“It’s A Sin”) and Russell Tovey (“Looking”), with the quartet rounded out by fortysomething screen actors Anna Maxwell Martin (“Bleak House,” “Line of Duty”) and Chris O’Dowd (“Get Shorty,” “Girls.”) Who”). Longhurst’s first two couples were young Black actors Sheila Atim (Olivier-winner for “Girl from the North Country”) and Ivanno Jeremiah, and older white couple Zoë Wanamaker (double Olivier winner and four-time Tony nominee) and BAFTA-winner Peter Capaldi (“Dr.
As a director almost exclusively of new plays (with “Amadeus” as a notable exception), “Caroline, or Change” is an unusual proposition for him. But having missed George C. Wolfe’s original production, he’s felt free to make his own choices about how to present the material.
“Up to this point I’ve only directed ‘Constellations’ with white thirtysomethings. It became really exciting to think bigger — not just the chemistry between actors but the identities of the play’s couple. How much could that change how audiences receive the story?” “Theater has been rightly examining itself around who gets to make and tell stories,” he says.
“I’m being rude, but the Donmar was slightly being held up with Sellotape,” he jokes. The building will now have much more open space and be open throughout the day, and he’s lined up a season of four new plays that will carry the company through May 22. He’s further invigorated by what audiences will experience when they return to the Donmar venue, which has had a major renovation.

The Hollywood Reporter first reported the casting of "Rustin."” />
George C. Wolfe, who previously oversaw "Ma Rainey’s Black Bottom," directs from a screenplay he co-wrote with "Milk's" Dustin Lance Black. Netflix will release the film under their deal with Higher Ground.
Colman Domingo, Chris Rock, Glynn Turman and Audra McDonald will star in "Rustin," an upcoming biopic about gay, civil rights activist Bayard Rustin. The film is the first narrative feature to be produced by Higher Ground, Michelle and Barack Obama’s production company.
Domingo worked with Wolfe on "Ma Rainey’s Black Bottom." His credits include "If Beale Street Could Talk" and "Candyman." Rock has appeared in "Top Five," "Down to Earth" and most recently starred on the fourth season of "Fargo." Turman also starred with Domingo in "Ma Rainey’s Black Bottom" and appeared in "The Way Back." And McDonald is the winner of a record six Tony Awards for her work in the likes of "Porgy and Bess" and "Carousel."
The film will look at the onslaught of obstacles that Rustin had to overcome to organize the 1963 March on Washington, which was where Dr. Philip Randolph; and McDonald, will play civil rights icon Ella Baker. Rock will play NAACP leader Roy Wilkins; Turman will portray activist and March on Washington co-organizer A. Martin Luther King Jr. delivered his historic "I Have a Dream" speech.
Academy Award winner Bruce Cohen ("American Beauty") and Higher Ground’s Tonia Davis will produce the film.
But those films were acquired by Netflix after they were completed and released under Higher Ground's banner. Higher Ground’s upcoming slate of projects in partnership with Netflix includes the feature films "Exit West" and "Satellite," and the comedic series "The G Word with Adam Conover." Higher Ground presented "Fatherhood," starring Kevin Hart, and the critically acclaimed "Worth," starring Michael Keaton, Stanley Tucci and Amy Ryan.

Steele is taking a break from her regular duties after she appeared on an outside podcast and made controversial references regarding President Barack Obama's racial background; ESPN's coronavirus policy; and suggested some female journalists court harassment due to their wardrobe choices.
She once contributed to "NBA Countdown," but more recently, has been deployed on various editions of "SportsCenter." She told Variety in 2017 that she basically ignored any criticism she might spark on social media. “I don’t have enough hours in the week for those two things.”” /> That hasn't kept ESPN from putting her in prominent roles. “The more people have been vocal about me, the stronger I’ve gotten and the easier it’s gotten for me to not really pay attention and not really care,” she said, and tries to focus on her job and family.
"We are having direct conversations with Sage, and those conversations will remain private." "At ESPN, we embrace different points of view — dialogue and discussion makes this place great. Steele has long been known to hold more conservative views than many of her colleagues, but the recent remarks, made on "Uncut With Jay Cutler," appear to have gone a bridge too far for ESPN executives at the Disney company's Bristol, Conn., headquarters. That said, we expect that those points of view be expressed respectfully, in a manner consistent with our values, and in line with our internal policies," the sports-media outlet said in a statement.
Steele hasn't been afraid to play the role of off-air provocateur. On Instagram, she once chided Tampa Bay Buccaneers wide receiver Mike Evans about his decision to protest during "The Star-Spangled Banner." And The Wall Street Journal detailed last year that she felt she was excluded from an ESPN special program about race because other Black employees disliked some of her views.
The anchor will not take part in ESPN's espnW summit, which focuses on women in sports, and is expected to return to full duty sometime next week. Steele is also off the air because she recently tested positive for coronavirus, according to a person familiar with the matter.
She also indicated she was surprised that President Obama identifies as Black. During the podcast, Steele took aim at Disney's requirement that most employees get vaccinated against the coronavirus, calling it "sick," and noting that she "didn't want to" get a shot, though she did.
"I know my recent comments created controversy for the company, and I apologize. We are in the midst of an extremely challenging time that impacts all of us, and it's more critical than ever that we communicate constructively and thoughtfully," Steele said in a statement provided by ESPN.
Sage Steele is one of ESPN's best-known "SportsCenter" anchors, but viewers won't see her on air for the next few days.

Jeremy O. Harris is in the process of removing "Slave Play" from its upcoming Los Angeles run at the Center Theatre Group due to the organization's lack of female playwrights showcased this season.
Hopefully in its place some young playwrights I love might be able to join the fold like: Celine Song, Tori Sampson, Aleshea Harris, Claire Kiechel, Antoinette Nwandu, Ming Peiffer, Whitney White, Clare Barron, Majkin Holmquist, Genne Murphy, Aziza Barnes and so many more. I've spoken to my team and would like to begin the process of removing slave play from the season at this time.


Harris took to Twitter on Oct. 5 to share an email titled "Slave Play at CTG" with the following text:
I hope this finds you all and I look forward to speaking more.
As a playwright who holds dear the principles of both inclusion it was a shock to realize that this season was programmed with only 1 woman across all theatres. As an Angeleno and a lover of theatre I think Los Angeles audiences deserve and equitable showing of the playwrights working in the US right now.
“‘Slave Play’s return engagement marks for me a chance for New York and the world to re-meet a play that many met at New York Theatre Workshop and Broadway in 2018 and 2019, and that thousands of others met in its published edition in a year when theaters around the world were dark,” Harris said about heading back to Broadway. “To be doing it in 2021 with the Kaneisha who originated the role at Yale and members of the original cast fills me with the same joy I had I had watching the play for the very first time in a classroom five years ago.”” />
Dear all,
Despite being snubbed at this year's Tonys, Harris' "Slave Play" announced a Broadway return the day after the ceremony.
See the tweet in full below:
I'm emailing to let you know the reason why I haven't shared much digital enthusiasm about the season.

We’re a product of TikTok, of Twitter hype. “Young people may not be able to afford the ridiculous ticket prices, but they do make plenty of noise.” “We’re a product of Instagram. It’s food for thought when considering how shows—particularly ours, which breaks the mold for how musical theater can be defined— come to Broadway,” Jamie Armitage, “Six’s” co-director, told Variety on Sunday.
True, Sunday’s opening night was an effulgent day for the Broadway community — a full-circle event for a musical which closed five hours before Broadway collapsed and a celebration of theater-making that places 10 women on the stage in an effort to reclaim how history is told.
I’m getting loud. Harris, Ariana DeBose and Peppermint. “These talented people have been out of work for almost two years, and tonight I plan to party,” he hollered. “I’m getting rowdy. I’m going to scream and yell and clap and be the loudest person in there,” Jimmy Fallon gushed to Variety on Oct. 3 outside the Brooks Atkinson Theatre, joined by guests including Lin-Manuel Miranda, Bowen Yang, Jeremy O.
“Broadway was always a cultural art form — until television showed up. We’ll talk in 10 years and see if we’re right.” This show takes back the microphone,” he told Variety. “Formats like this, a musical masquerading as a pop concert, is a seminal moment for Broadway, because they’ve taken back storytelling as a form of popular entertainment.
You build a global fandom. “All music theater is low-key non-profit, and if you think of it as a service to young people and you know how to make that entertaining, you do what ‘Six’ did. “I think we need to think of our work, as actors and music theater people, as outreach,” added Brittany Mack, who plays Anne of Cleves. You make something successful," she said at the after party. You go on tours.
“Yes, tickets are expensive, but when someone buys a premium ticket—an orchestra seat for a few hundred dollars—it subsidizes everyone else who can’t,” McCollum said at the afterparty, emphasizing the importance of “Six’s” digital lottery for young fans.
and embarked on several world tours, amassing a voracious global fandom on social media as the show landed in the West End. And that’s the other point: ‘Six’s’ opening isn’t just a gushy celebration for Broadway. First written by Lucy Moss and Toby Marlow as a college project, the musical released an album after premiering in the U.K. By the time it booked a Broadway theater, “Six” was already a global sensation. It also represents an achievement for a musical arriving with a peculiar pedigree.
On Broadway, “Six” is backed by producer Kevin McCollum, the veteran who brought “Rent,” “Avenue Q” and “In the Heights” to the stage and saw in “Six” the same capacity for evolution in the genre.
“When 12-year- old girls see it — whether they come to the theater, listen to the album, or see it on TikTok — they see a Black woman playing a German queen, a Filipino woman playing Anne Boleyn, and they see instructions for how to create a better world.” “We’re doing some reclamation,” Andrea Macasaet, who plays Anne Boleyn, told Variety at the opening night after-party, held at Chelsea Piers.
Of course, there’s a particular irony to the show’s arriving thanks to the popularity of young fans, as Armitage noted: Most could never afford the ticket prices, a difficult reality as Broadway straddles calls for greater accessibility with the financial reality of rebuilding a theater economy.
“Six,” a glittery pop-concert squeezed within a musical structure, pits the six wives of Henry VIII against each other in a song-battle over who suffered the most, an obvious and ironic exercise meant to question how histories of women are written in misogyny.
On Sunday in New York City, “Six,” the pop-musical phenomenon about the not-so merry wives of Henry VIII, became the first new musical to open on Broadway, 17 months after the show’s original opening night was cancelled the same day Broadway shut down.
"You’ll usher in a new generation of people who are hungry for theater, kids who are savvy online or have the time to wait in line outside.”” /> “If you can afford the orchestra seat, please come," he finished.