If you were spitballing ideas for a show that would make you the toast of Broadway, the story of a fat, Black, queer musical theater writer struggling to write a musical about a fat, Black, queer musical theater writer struggling to, etc., might not be at the top of your list. But when Michael R. Jackson's dazzling A Strange Loop won best musical at the Tony Awards last June, it confirmed that there is a place-an appetite, even for offbeat, challenging work on Broadway. Now, in the footsteps of A Strange Loop and such other less-than-obvious Tony winners as Fun Home and The Band's Visit, comes a new contender, fresh from a soldout off-Broadway run at the Atlantic Theater: Kimberly Akimbo. David Lindsay-Abaire and Jeanine Tesori's gorgeous, tragicomic chamber musical stars Victoria Clark as a suburban teen with a medical condition similar to progeria that drastically accelerates her aging process and shortens her life. Clark classifies the show, which opened at the Booth Theatre on November 10, as "weird art." "It's not trying to be anything other than what it wants to be," she says. "That is exactly how Kimberly ends up living her life and it's kind of a lesson for all of us, to get to the core of who we are and display those colors proudly." As the idiosyncratic playwright of Fuddy Meers and the Pulitzer Prizewinning Rabbit Hole, Lindsay-Abaire has made a career exploring the intersection of laughter and heartbreak, anchoring surreal flights of fancy in emotional truth and a keen awareness of mortality. "Funny is a place to start, but it's got to be grounded in something or it's going to float away onstage," he tells me. "More often than not, what I ground it in is a place of pain, and I should probably talk to my therapist about that."
هذه القصة مأخوذة من طبعة December 2022 من Vogue US.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
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هذه القصة مأخوذة من طبعة December 2022 من Vogue US.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
بالفعل مشترك? تسجيل الدخول
Nothing Like Her
Billie Eilish was adored by millions before she fully understood who she was. Now, as she sets out on tour without her family for the first time, she is finally getting to know herself.
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If the eyes are the window to the soul, then our cheeks are the back door. What other part of the body so readily reveals our hidden emotions? Embarrassment, exuberance, delight, desire, all instantly communicated with a rush of blood. It's no wonder that blush has been a mainstay of makeup bags for decades: Ancient Egyptians used ground ochre to heighten their color; Queen Elizabeth I dabbed her cheeks with red dye and mercuric sulfide (which, combined with the vinegar and lead concoction she used to achieve her ivory pallor, is believed to have given her blood poisoning); flappers applied blush in dramatic circles to achieve a doll-like complexion, even adding it to their knees to draw attention to their shorter hemlines
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A trio of novels spirits you far away.
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Paul Tazewell’s costumes for the film adaptation of Wicked conjure their own kind of magic.
THE SEA, THE SEA
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STAGING A COMEBACK
Harlem's National Black Theatre has been a storied arts institution in need of support. A soaring new home is shaping its future.
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Simon Porte Jacquemus, much like his label, resonates with the sunny, breezy French South-but behind the good life, as Nathan Heller discovers, is a laser focus and a shoulder-to-the-wheel work ethic.
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The character of Rose in Gypsy is the acting Everest for many one-name acting legends. This fall, Audra McDonald takes it on.
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THE FASHION FOR OUR FUTURE MARCH HAD A SINGULAR PURPOSE: TO GET OUT THE VOTE.
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Three years after taking the reins at Bottega Veneta, Matthieu Blazy unveils his first fine jewelry collection.