May 9, 2006 |
Broadway has found its Mary Poppins, and it's Belle from "Beauty and the Beast." Ashley Brown, who currently stars in the long-running musical based on the Disney animated film, will portray the world's most famous nanny when "Mary Poppins" opens Nov. 16 at the New Amsterdam Theatre in New York, producers Cameron Mackintosh and Thomas Schumacher announced Monday.
August 24, 2012 |
Sony Pictures Entertainment has announced it has signed a five-year deal with Tony-winning Broadway producer Scott Sanders to adapt the studio's films for the stage. First up in the studio's extensive catalog? The 1982 comedy "Tootsie," which starred Dustin Hoffman in drag. As part of the deal, Sony has purchased a 20% equity stake in the 5-year-old Scott Sanders Theatrical Productions, multiple news outlets have reported. A dollar amount was not disclosed. Sanders' prior screen-to-stage credits include "The Color Purple" and "The Pee-wee Herman Show.
CALIFORNIA | LOCAL
March 9, 2000 |
The musical "Mary Poppins" will be staged at 7 p.m. Friday and Saturday and at 2 p.m. Saturday and Sunday at St. John's Episcopal School, 30382 Via Con Dios. Tickets are $6 for evening performances and $5 for matinees. Information: (949) 858-5144.
November 11, 2005 |
"Mary Poppins," the musical that won rave reviews from British critics when it opened in 2004 in London, is coming to Broadway. The production, a joint venture between the Walt Disney Co. and British producer Cameron Mackintosh ("Cats," "Les Miserables," "Phantom of the Opera"), will open on Nov. 16, 2006, at the New Amsterdam Theatre. To make room for the show, Disney's "The Lion King" will move in June from the New Amsterdam, its home since 1997, to the nearby Minskoff Theatre.
December 19, 2004 |
Rodgers & Hammerstein's Cinderella Image, $20 Mary Poppins -- 40th Anniversary Edition Disney, $30 You could call these crown Julies. The 1957 live CBS musical and the 1964 Walt Disney musical classic were two of Julie Andrews' watershed projects early in her career. "Cinderella" was the only original musical Richard Rodgers and Oscar Hammerstein II wrote for television, and more than 100 million people watched Andrews and her costars perform it live on March 31, 1957.
November 22, 1992
Miles Corwin has a much greater problem differentiating between movies and real life than the actors he attacks in his article. If everyone held his opinion, then Anthony Hopkins should not have played Hannibal Lector because he never murdered anyone and Julie Andrews should be censured for playing Mary Poppins because she can't fly. An actor's only responsibility is to bring life to the part he plays convincingly and believably. John Wayne, Clint Eastwood and Sylvester Stallone have been entertaining and inspiring audiences for years.
November 17, 2009 |
Mary Poppins wafted into the Ahmanson Theatre on her magic umbrella Sunday evening, and even those who think they've outgrown her carpetbag of enchantment will have to admit that her timing is, to use one of her pet phrases, "practically perfect." The show, while not intended as a holiday entertainment, takes on a special glow as the days get dark early and merriment is placed on family to-do lists. (Sure, Mary can be a bit of a martinet, but wouldn't you rather jump into a painting with her than clock more overtime with Scrooge?
December 20, 2013 |
On one level, the new historical dramedy "Saving Mr. Banks" chronicles the efforts of studio head Walt Disney (Tom Hanks) to persuade the cantankerous British author P.L. Travers (Emma Thompson) to allow her "Mary Poppins" children's books to be made into a movie. On another level, it's also something of an ode to the old Hollywood studio system, with a small army of Disney employees all toiling together on the back lot. At a recent installment of the Envelope Screening Series , some of the "Saving Mr. Banks" cast members talked about the old-fashioned collaborative approach.
December 23, 2013 |
Every writer who sits down and begins a screenplay thinks they know why they're doing it. Knowing why is essential to the process. But sometimes - maybe all of the time - we're fooling ourselves. We don't truly understand why we've written something until long after we're done. From the moment Alison Owen, our British producer, came to me with a preexisting script of P.L. Travers' story (by Sue Smith) and shared her ideas for how it could become the movie that's in theaters as we speak, I was enthralled.