Actor T.R. Knight has wed his boyfriend of three years in an intimate ceremony in New York. The 40 year old exchanged vows with his partner on Friday (04Oct13) in front of just a handful of guests, including his former Grey's Anatomy co-star Katherine Heigl, according to UsMagazine.com.
Knight has yet to comment on the reports, but he was noticeably absent from his role as Mercutio in an off-Broadway production of Shakespeare's Romeo & Juliet on Friday and Saturday (05Oct13).
A source tells the publication, "It (was) very small and quiet. (The) cast wishes they could go too, but they all congratulated him."
Knight began dating his current partner after ending his two-year romance with Mark Cornelsen in 2009.
For urban creatures of the night — I'm referring here to Eighties club kids — The Hunger was the be-all and end-all. It so captured the sexuality of the post-punk zeitgeist, it put director Tony Scott on the map. But there's another flick for vamp majors obsessed with a complete education, from another director you may have heard of, Kathryn Bigelow.
The characters of Near Dark are the poor relations of Scott's upper-class predators. But they have something The Hunger completely passes over: American-outlaw-blue-collar hotness. The film quietly seethes with a swagger that can only be described as Western. It is wild, unkempt, brutal and appealing, an intergenerational drawing match over sex and supremacy. It is sexy, down to the bone, pure Cowboy Punk.
Jenny Wright and Adrian Pasdar play out an undead Romeo and Juliet story so scorching you won't know where to look first. She's lonely, she turns him, but her posse is pissed. They reluctantly take in the small town boy, and careen through the desert in an RV with blackened windows, part man cave, part coffin, on a sociopathic Kerouac road trip.
You can certainly rent it. But I suggest a permanent download.
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They say boys mature more slowly than girls, but this is ridiculous.
A new Broadway production of the play opened this past week with Orlando Bloom and Condola Rashad (Phylicia and Ahmad's daughter) in the title roles. As we all know thanks to the freshman required reading list, Romeo and Juliet are teenagers when they meet, fall in love, and screw everything up. (Because they're teenagers.) Orlando Bloom is almost 37, which makes the 26 year-old Rashad's casting almost age-appropriate. He's got a wife and a kid and probably can handle responsibility pretty well. What's going on here? Is this some comment on his generation's suspended adolescence?
But he's dreamy; he's got the chops; he looks good under a balcony — what's the problem? This situation shines a light on the fact that not all star-casting stage debacles happen because the actors can't cut it. Sometimes they happen because the actor is, unfortunately, not suited for his dream role anymore. Chances are, this Romeo & Juliet is happening because Bloom wanted to do it, not because the theater-going public was clamoring for another adaptation. That's not to say that he's not pulling down some fantastic reviews. But who knows how much better he could have been in a fitting role?
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Orlando Bloom's Broadway debut has received mixed reviews from critics. The Pirates of the Caribbean star took his New York theatre bow opposite Condola Rashad in a modern-day depiction of Shakespeare's Romeo and Juliet on Thursday (19Sep13), and while his performance has received positive marks, the production falls short for many reviewers.
The New York Times writer Ben Brantley praises Bloom and Rashad's chemistry, but calls David Leveaux's production "lopsided".
He writes, "When these doomed lovers first set eyes on each other, it's so obvious that they're a matched set - and that they know it - that the whole world seems to stand still in deference.
"Though the kiss they subsequently share is long and deep, it doesn't feel like the product of teenage lust. The chemistry is less erotic than aesthetic."
David Rooney of The Hollywood Reporter commends Bloom's "confident debut," and adds "his early classical training is evident in the ease and conviction he brings to the language. He conveys the idea of Romeo as an impassioned idealist too naïve to see the intransigence of the society into which he was born."
However he adds the production's "contemporary trappings never quite amount to a distinctive edge".
Oscar-winning screenwriter Julian Fellowes has been criticised for altering the words of William Shakespeare. The creator of hit British drama Downton Abbey came under fire when he was accused of rewriting lines in his adaptation of Romeo And Juliet, which is due for release later this year (13).
After watching a trailer for the new movie, critics claim Fellowes has simplified lines and reconstructed phrases, and as the script still sounds authentic they believe audiences could be misled into thinking they are listening to The Bard's original words.
Caitlin Griffin, of Washington D.C.'s Folger Shakespeare Library, tells Britain's Daily Express, "While the language still sounds lofty, they are not Shakespeare's word choices, and that's a big deal. Fellowes' adaptation, while poetic and set in the period of Shakespeare's play, is not using Shakespeare's language.
"Adaptation is a fine thing but I honestly cannot see the point of an adaptation in which little to none of the original text is used."
However, the director insists he has written the script for a new generation, adding, "People are entitled to say whatever they wish, good luck to them say I."
Actress/singer Rumer Willis has signed up to replace Lindsey Gort in a new musical theatre project inspired by the works of Baz Luhrmann. The 90210 actress will portray Juliet from the filmmaker's cult film Romeo + Juliet in For the Record: Baz Luhrmann, the theatrical adaptation of four of the director's films.
Gort, who played a leading role in last year's (13) For the Record: Scorsese, was forced to pull out of the production when she landed the role of a young Samantha Jones in Sex & the City prequel TV series The Carrie Diaries, according to The Hollywood Reporter.
For The Record: Baz Luhrmann, which will hit the stage at Griffith Park's Rockwell theatre in Los Angeles next week (15Aug13) for previews, will feature songs from the director's movies Strictly Ballroom, Romeo + Juliet, Moulin Rouge! and The Great Gatsby.
Glee's Lindsay Pearce is also among the cast.
Actress Elizabeth Olsen is seeking a new lover following the news her Romeo has pulled out of the Classic Stage Company's off-Broadway production of Romeo & Juliet. Finn Wittrock has withdrawn from the play to make a movie and producers are scrambling to find his replacement.
Wittrock's departure comes as two major names are added to the cast - Oscar winner William Hurt will portray Friar Laurence and former Grey's Anatomy star T.R. Knight has been cast as Mercutio.
The play will open in New York on 16 October (13).
O Romeo, Romeo! Wherefore art thou Romeo? And why does the newest film about you look exactly like the ones that came before it?
Although William Shakespeare died 400 years ago, it seems as if the romantic tragedy of Romeo and Juliet will never be put to rest. As Orlando Bloom gears up to play the male lead on Broadway, another take on the tale of star-crossed lovers follows in the footsteps of Franco Zeffirelli's traditional adaptation and the unforgettably "hip" modern version starring Leonardo DiCaprio. This time around, however, director Carlo Carlei and Julian Fellowes, best known as the writer of Downton Abbey, have chosen to completely embrace the period in which the tale was written. The result: an updated version of the Zeffirelli adaptation. Huh.
At least the stars seem well fit for their roles (and in the case of the highly attractive Romeo, we emphasize the word "fit"). Oscar-nominated actress Hailee Steinfeld, fresh from completing the hugely anticipated Ender's Game, plays the young and naive Juliet alongside her hopeless romantic Romeo, portrayed by rising star Douglas Booth. The young lovers are accompanied by a powerful supporting cast of Paul Giamatti, Lesley Manville, Kodi Smit-McPhee, Stellan Skargard, and Ed Westwick.
Indeed, Will claimed that a rose by any other name would smell as sweet. But will the newest adaptation of his tragic love story measure up? Find out on October 11.
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British actor Daniel Radcliffe is determined to put his reservations aside to tackle a William Shakespeare play and hopes he will one day land the title role in Hamlet. The Harry Potter star is no stranger to theatre after starring in plays in the West End and on Broadway, and he is currently appearing in a London production of The Cripple Of Inishmaan.
Radcliffe, who won rave reviews for his latest stage turn, admits he hasn't yet tackled a Shakespeare play because he finds the Bard's works "scary" and "intimidating", but he hopes to conquer his fears eventually.
The 23 year old dreams of playing cheeky imp Puck in A Midsummer Night's Dream before tackling more dramatic roles.
He tells Thestage.co.uk, "I would love to do Puck, partly because it's the first role I ever talked about to (British theatre director) Michael Grandage when I was 14. He said, 'What theatre do you like? What have you seen?' And I said I'd love to play Puck... Shakespeare is something that's very intimidating to me - the language. But I'd definitely, definitely like to take something on soon... Or the other parts I've always loved - well there are two in Romeo and Juliet actually - Romeo and Mercutio."
When asked whether he would ever dare to play the lead in Shakespeare's Hamlet, he adds, "I would but a) no one's asking me to at the moment thank God because b) there's definitely something scary about it. But, hopefully, I'll get to."
It may be the most famous scene in Western literature: Romeo’s declaration of love beneath Juliet’s balcony. So how do you stage it without words? If you stage it as a dance how do you deal with the separation of the two lovers? Sir Kenneth MacMillan provided an easy answer in his choreography for Sergei Prokofiev’s Romeo and Juliet. You get Juliet off that balcony and down on terra firma for a pas de deux with Romeo stat. The challenge is that the dancers’ physicality has to be as good as Shakespeare’s words.
Cory Stearns and Gillian Murphy of the American Ballet Theatre meet MacMillan’s challenge as the star-crossed title characters in a new production of Prokofiev’s ballet playing at Lincoln Center through June 15. But they’re lucky. They have the support of the spare-no-expenses American Ballet Theatre ethos. It’s resulted in another sumptuous, soaring ballet.
ABT’s Romeo and Juliet opens on the marketplace of Verona. There’s a wooden stairway, several stalls for vendors, some hay scattered about, all the little organic details the company likes to establish for complete immersion. The marketplace slowly comes alive as the baker arrives, then the blacksmith, then the fishmonger. This is a living space, perfect for MacMillan’s unfussy, down-to-earth choreographic style. He even integrates some elements of northern Italian folkdance into the traditional ballet when he has a group of wheat-toting women perform light clogging. Before you know it, the entire marketplace has erupted in violence with Montagues dueling Capulets via some fierce swordplay.
MacMillan’s democratic style meant populating his stage with a multitude of elements at once and encouraging you to scan about and perceive as many details as possible. That means any of the background peasants get as much attention as Tybalt and Mercutio. Only Romeo and Juliet themselves get the spotlight. As Romeo, Cory Stearns, who’s only been a principal at ABT for two years, is athletic and engaging. The Long Island native is more streamlined than muscular, perfect for capturing a youth in the throes of his first true passion. And Gillian Murphy, a South Carolina prodigy who’s been a principal for eleven years, is appropriately willowy and ethereal.
In bringing life to their characters, Stearns and Murphy are supported by Prokofiev’s propulsive 1935 score, conducted here by Charles Barker. The Russian modernist was a master of narrativizing music, and he’s best known today for teasing out the full drama of his works by assigning themes to each of his characters. One of his most famous pieces, Peter and the Wolf, goes so far as to designate a specific instrument for each animal in the story. Something similar happens here, with flutes corresponding to Juliet and strings to Romeo. But overall, Romeo and Juliet is one of Prokofiev’s looser compositions. In conjunction with MacMillan’s choreography it’s a ballet that exists on the opposite pole from, say, Prokofiev’s score for the film Alexander Nevsky, in which the music is perfectly synchronized with the images — a vision of determinism reflecting a time in which free will seemed unattainable in Russian society.
The one time you feel that level of control in Romeo and Juliet is, of course, the famous “Dance of the Knights,” a brooding, violent piece in which the Montagues and Capulets march with militaristic menace. MacMillan places the two camps in strictly regimented formation as if the Montagues and Capulets are extras in Triumph of the Will. It’s easy to imagine that Prokofiev, living at the height of Stalin’s “show trials” and with the Nazis about ready to march across Europe, might have likened the Montagues and Capulets’ culture of violence to ‘30s fascism. Not traditional romantic music, Prokofiev’s composition seems to underline the lovers’ break from tradition more than their sensual longing. It shows that Romeo and Juliet truly is timeless, because it can be so easily modified to fit the priorities of the time in which it’s retold.
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The tragic story of the "star-crossed lovers," and perhaps the most popular of Shakespeare's plays. Two rival families of Verona -- the Capulets and the Montagues -- settle their differences only after the tragic deaths of Juliet, the young daughter of the Capulets, and her secret lover, Romeo, the son of the Montagues.