A fresh Heardle challenge has begun for music lovers this Sunday. A well-known puzzle game, which was released as one of its numerous spinoffs in early 2022, shares a lot of conceptual similarities with the word game Wordle.
Anyone can enjoy this entertaining game. The only requirement is that you must enjoy music and have a basic understanding of pop music.
The beginning of a well-known song’s introduction is released each day at 12 AM, and participants must identify it within a six-try limit. It’s crucial not to waste the opportunities that are provided because doing so will lengthen the intro and possibly end your winning streak.
What are the clues for Heardle of 4 December?
The songs included in the daily challenges are taken from a list of the most streamed songs from the preceding ten years. For modern music fans, this can seem like an unfair advantage, but rock and roll enthusiasts shouldn’t give up just yet.
So perhaps this is the time to look at some of these useful hints offered here if you’re trying to figure out the name of the song featured in Heardle today:
The song of the day was released in the year 2015.
The song of the day belongs to the Dance, Blues-rock, or Electronic genre.
The song of the day is a single by Kaleo.
The length of the song is 3:39.
There are four words in the title of the song.
The song of the day begins with the word ‘Way.’
The song belongs to the album A/B.
What is the answer for Heardle of 4 December?
The song Way Down We Go by Kaleo is the correct answer to today’s Heardle puzzle.
On 7 August 2015, Way Down We Go was made available as a single from Kaleo’s highly regarded album A/B. A calming piano opening sets the mood perfectly as the song begins.
It incorporates blues and rock musical influences. Way Down We Go was a critically acclaimed film that also had financial success. It is regarded by many as one of Kaleo’s hallmark songs.
FAQs:
When was Way Down We Go released? The song Way Down We Go by Kaleo was released on 7 August 2015.
The song of the day belongs to which album? The song of the day Way Down We Go belongs to the album A/B.
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It is proof that dreams do come true as students from the tiny country town of Urbenville in northern NSW were given celebrity treatment after inviting Keith Urban to perform in their end-of-year concert.
Key points:
Urbenville Public School students have had a private audience with Keith Urban after being invited to his Brisbane concert
The country music superstar has invited the students back on his next tour to sing with him on stage
Urban gave each student a bag of all his merchandise that was personally named
Urbenville Public School caught the attention of the country music superstar with their lockdown videos in 2021, singing songs of hope for other students during the pandemic.
And while he could not visit the school in person, Urban went one better, inviting the 16 students, aged between five and 12, their teacher Mel Sifko and principal Chris Sifko for a private audience during his Brisbane concert on Saturday night.
“It’s the most amazing experience I think I’ve ever had,” Mrs Sifko said.
“The generosity of Keith and his team was just amazing.”
Space to play or pause, M to mute, left and right arrows to seek, up and down arrows for volume.
Urbenville students meet Keith Urban.(Supplied: Urbenville public school)
The students, from a town of about 300 people, were ushered through the VIP entrance at the Brisbane Entertainment Centre into their own special room, where they spent more than half an hour chatting with their idol.
“The students had the opportunity to ask him questions and speak with him and chat with him, and he went around and gave them all a hug, and he knew them personally by name,” Mrs Sifko said.
“He gave each student a bag of all his merchandise that was personally named, with signed photos and tea towels.”
Keith Urban meeting the students.(Supplied)
This is your utopia
“Keith told them, whatever problems you feel outside, whatever might be getting you down, while you are in the concert, put it all behind you and dance and sing and just leave everything behind and just do whatever that makes you happy,” Mrs Sifko said.
One student asked if they could go on stage and sing with him during the concert.
Urbenville student Dolly Honan and principal Chris Sifko enjoying the Keith Urban concert.(Supplied)
“He said, unfortunately, no, but next time he does a tour, that we would come up in the afternoon and hang out with him and come up and play with him and go on stage with him then,” Mrs Sifko said.
“That gave them something more to look forward to.”
Students on their way to meet their idol Keith Urban.(Supplied)
And the surprises did not stop there.
When they sat down for the concert, they were seated next to Urban’s immediate family.
Keith Urban meeting Urbenville principal Chris Sifko.(Supplied)
“They were getting photos with Keith’s brother,” she said.
“It was just the most amazing experience ever.”
From little things big things grow
Urbenville’s school’s rise to fame came through a simple act of bringing hope to students around NSW during COVID lockdowns,
The school sang songs of hope and support to students around the state each Friday, sharing the videos on Facebook.
They were so proud of the impact they were having they wrote to their idol Keith Urban, inviting him to join them at their end-of-year concert.
Students watch Keith Urban in concert.(Supplied)
And he was considering it.
But COVID forced the singer to postpone his 2021 tour.
Instead, he surprised the students with a live video call, as well as donating a guitar to each and every student at the school.
During the call, Urban said he was “moved” by their performances and wanted to share his passion for music with the school.
He invited them to be his special guests during his Australian tour in December 2022.
“I’d love to properly meet you all, so that’s the best way to do it,” Urban said at the time.
“I can’t come to your concert, so maybe you can come to mine.”
Urbenville Public School has incorporated Keith Urban in its logo for the special occasion.(ABC North Coast: Miranda Saunders)
Actress Pearl Thusi told Hype Magazine Charles Myambo that she is currently working on new music with a music producer that has worked with Ciara.
“Deli is the man who convinced me to start making music and he’s a prolific producer who has produced for…the likes of Ciara, Tyler here in South Africa, he’s also producing his own music so he is really prolific…we were going out together while I was hosting at the clubs or whatever cos I like hanging out with people…,” she said.
ALSO READ: ‘It won’t be renewed’: Pearl Thusi on ‘Queen Sono’
DELI CONVICES PEARL TO MAKE MUSIC
Pearl says the super producer always brought up the topic and she also has secretly wanted to venture into music.
“I recorded a song and I’m tryna decide when to put it out so I will keep you updated…It’s good but I guess everybody says that about their making music but I’m loving it but if everybody hates it, I still love it and I guess that is what matters about art,” she said.
This will be the first time Pearl releases a song and people seem excited about her latest venture.
ALSO READ: ‘I was never mean to Pearl’: DJ Zinhle slams beef claims [watch]
RELATIONSHIP WITH ANATII
Pearl and musician Anatii are rumoured to be an item following hints from their social media activities as well as a confirmation from a source.
IOL reports that the two media personalities are trying to keep their relationship away from the public but have been spotted together a few times.
ALSO READ: DJ Zinhle’s ex Brendon Naidoo to return to court on fraud charges
“They are not hiding their relationship, they do go out to restaurants, events and other places – they just avoid media but it’s just a matter of time before they go public or start posting. They want to make sure that the foundation is solid,” a source told Zimoja.
ALSO READ: Couple alert? Pearl Thusi and Anatii rumoured to be dating [photos]
Sweet dreams are made of this/Who am I to disagree.” – ‘Sweet Dreams’ by Eurythmics
Where do we begin? The answer has been eluding me since listening back to not justour interview, but her music.
Paying close attention to Natasha Noorani’s wide-ranging discography is truly awe-inspiring. The versatility with which she delivers each song – across the spectrum of independent and commercial work – is unmissable.
In doing so, I am struck with the thought that Natasha’s career is so much more than co-founding a terrific music festival (Lahore Music Meet) that put her on my radar at first. Upon reflection, it is obvious that her collective work is a reflection of Natasha’s profound contribution to the music and cultural ecosystem. She has also managed to reconnect listeners with shared cultural heritage that can become lost due to our exposure to oversaturated content.
Natasha Noorani is anything but saturating. She has incorporated cultural heritage with experimental ideas without going wrong. Ergo, we have before us not another EP or single but a collective artform.
Has she played many roles in the larger musical realm? Yes. But it feels like that this is where the conversation must begin: her solo music.
When you search Natasha Noorani on the world wide web, it will give you several choices that differ from her solo music, and include an abundant number of collaborations, film songs and a song with a pioneering pop group. You might even find it intimidating. Or, you might reach out for that favourite quote from one of your favourite bands (Bono from U2): “Music can change the world because it can change people.”
More than intimidation, this is a quote that defines Natasha’s aesthetic and artistic growth and how she is pushing the envelope. It feels like this is where we should begin.
The timing also feels right. The voyage between her debut EP Munaasib (2018) and her upcoming, second EP Ronaq (2023) does reflect a sign of experimentation as well as musicality that is hers and hers alone and above all, personal expression.
“One life but we’re not the same/We get to carry each other, carry each other.” – ‘One’ by U2
To Natasha, her first EP, Munaasib was an expression of the musicality that she wanted to showcase, self-belief and getting over the fear that she wasn’t good enough which resulted in “keeping demos in my phone for a million years and not releasing them.”
From Munaasib, Natasha has moved on to her second EP, the upcoming Ronaq (2023). From Ronaq, Natasha has released two songs: ‘Choro’ in 2021, followed by ‘Laiyan’ in 2022. Both songs are refreshing and retain a Natasha Noorani signature but they’re also a step ahead and offer a duality when compared to Munaasib.
As Natasha notes, “It seems like a huge transition, and in a way, it really is, but, the musicality of Ronaq and the conceptualism is very much about who I am and have always been. Munaasib (2018) and Ronaq (2023) are different sides of the same person.”
Both songs from the EP have different producers. If Munaasib was about giving the musician inside Natasha some space, Ronaq is about stretching her wings. But Natasha doesn’t take credit away from others involved in the two songs.
The first song from the EP is called ‘Choro’ with Abdullah Siddiqui as co-producer. Working with producers like Abdullah Siddiqui and Talal Qureshi, says Natasha, is a blessing and it allows her to not be stifled in the studio. The room to experiment is what allowed her to co-produce.
“The first song, ‘Choro’ was also about me coming with my own production sound and collaborating with Abdullah on that, hence, it says co-produced. It really gave me that ability to just create the music that I want to create.”
Don’t be fooled by the eye-popping colours you see in the music video of her second song, ‘Laiyan’. There is a profound thought that you might’ve missed because of its playful character.
Natasha Noorani in a still from the music video of ‘Choro’, the first song from Ronaq, set to release in 2023.
Here, we need to first decipher Peshkash Music. Natasha Noorani is the force behind it and described how it has been in her life for the last five or six years but was formalized in recent years. It gave her a chance to listen to artists as diverse as Naheed Akhtar, Runa Laila, Salma Agha and many others that Natasha didn’t grow up listening to due to lack of access.
“The music was not readily available. Through buying records, dedicated research and digitization on Spotify, the access has been found.
“The reason I’m drawn to this research is because I feel it can help me contextualize the music industry and ecosystem today.
“On a personal level, I saw examples of voices that really spoke to me. I love the fact that Runa Laila sang a Mili Naghma but also sang ‘Jab Se Gaya Hai Mera Bachpan’.
The versatility of a female artist is no longer as welcome in today’s industry. For me, it was like ‘hey, there’s context, there is precedence’. I kind of really explored that core, which you can hear in ‘Faltu Pyar’ (with Hasan Raheem but not on the EP) and a bit in ‘Laiyan’ as well. It is not nostalgia but at the core, it is representation, the source and music that is inspiring.”
Like a foundation to build upon, I interpolate.
“Exactly. The fem voices spoke to me. It is not exactly the same thing because then it becomes a cover album. What I thought about is how – in the studio – I come up with melodies and what if my voice is the sample?”
What if, as Natasha says, she considers the melodies she makes where she’d sample from an older record.
Think ‘Laiyan’, a desi-Lollywood-inspired pop song that has a sense of modern interpretation of longing for someone but also takes on all the tropes possible. And it is the most out-there song in Natasha’s repertoire.
“If you notice the lyrics, I’m taking biggest tropes that would make poets skip a heartbeat and that’s okay with me,” she says. “I really do like pushing that boundary in terms of how I’m exploring R’n’B and pop as a genre.”
With ‘Laiyan’, Natasha certainly did prove her mettle as an R’n’B-meets-pop artist. She agrees that it was an effort to modernize older songs, not because they need modernization.
“It is about placing them in a way that it feels completely new. But if you’re really listening to it, you can hear all the references you possibly can. The music video also reflects that. In Sitara Aur Mehrunnisa, there is a scene where Atiqa Odho is calling her lover or someone and she’s on a green phone, something as simple as that like a prop shot and I made sure that the same green phone is in ‘Laiyan’. The song is an amalgamation of these small little references within our culture.”
The rest of the songs, promises Natasha, on Ronaq are not as pop-y but the voice is different.
“You may say I’m a dreamer. But I’m not the only one.” – ‘Imagine’ by John Lennon
What Natasha does take pride in is the versatility that’s palpable to her but not all of us. “It’s very hard for me to be out loud because of self-doubts but I do stand by the fact that I have a versatile talent of both listening and songwriting. And hence, I work with different producers and come up with different sounds and try things that may or may not work on a commercial level but they add and facilitate so much to my musical education and trajectory that no song I do is a bummer for me that way. No song has no value to me. Yes, it may not have commercial value. But it does have value.”
“Music is the shorthand of emotion.” – Leo Tolstoy
Natasha Noorani has played several roles within the music ecosystem but as an artist one of her career high points has to be performing on Boiler Room during its first Pakistan edition. Watching the performance, at one point, Natasha says she is Ronaq. Is the album, therefore, an identity, a new one at that?
Laiyan’ is a desi Lollywood-meets-pop track about longing
“I don’t think Ronaq is a personification of something outside of me. It is not necessarily a persona because that means it is something from outside of me that I’m trying to put within. Ronaq is parts of myself that allows me to be myself to its fullest without getting caught up in other things. It’s a mindset in a way. Ronaq, not in the literal sense of the word, but is parts of my personality that’s able to make these risky moves in terms of musical experimentation and representation of me visually in so many different ways that I haven’t done before but all of this is coming from within me.”
Between making segues to her commercial work, we continue to land on her music. The Boiler Room performance, remembers Natasha, is entrenched in another festival called Sine Valley, held in Nepal in 2017.
“The seeds for this were planted about 5-6 years ago when I attended my first Sine Valley (in Nepal). It was organized by Daniel Arthur Panjwaneey and that’s where I began a solo, electronic artist. It was the beginning of my musical career in a larger sense and the trajectory that I’m on and the culmination of many years of hard work began,”
Crediting Daniel Arthur Panjwaneey who saw a spark in her to include her in the festival, it was the first time Natasha had stepped into the electronic music scene. “It was still pretty much the same as the Boiler Room setup. I played at Sine Valley and the songs I wrote for Sine Valley ended up on Munaasib.”
Beyond her solo music, to learn more about the versatile Natasha Noorani, take a look at the centerspread inside. You won’t be disappointed.
George Dunning showcased a love for classic rock when he directed the 1968 animated jukebox comedy Yellow Submarine. The Beatles‘ music and iconography inspired his now-iconic musical adventure film. The story follows a fictionalised version of the Fab Four as they are recruited to save a music-loving town from some music-hating creatures. Although initial press conferences claimed Paul McCartney, Ringo Starr, George Harrison and John Lennon would voice themselves in Dunning’s film, the members eventually appeared in the film’s conclusion instead. Following Yellow Submarine’s success, Dunning continued animating and writing, following the film with Moon Rock.
During a 1980 interview with John Canemaker for Animiafilm, Dunning expressed how he perceived Yellow Submarine to be a time capsule for the colourful and influential decade that is the 1960s. “It is that. That’s the contribution of many people,” the animator shared. “The film would have had a life because of the Beatles’ music.” He also revealed how the film came about following a meeting with Twin magazine graphic designer Heinz Edelmann, stating: “I remember this brown envelope arrived with four drawings in it, one of each Beatle. It was really marvellous cause it had that solved, attended-to quality. You could see it wasn’t Mickey Mouse, and it wasn’t this, it wasn’t that—it was just there!”
Dunning then shared: “Yellow Submarine is very much a phenomenon.”
His following film, Moon Rock, is an 11-minute short film about a spaceman who visits the moon. Dunning welcomes audiences with a quick countdown from ten, followed by a blast off of a live-action rocket. The faceless astronaut then lands on the moon and is immediately met by a gang of psychedelic creatures who inhabit the moon. As he explores the environment, the animation is juxtaposed with real-life footage, such as Olympic sprinters playing between animated shots of the astronaut shooting chocolate out at an insect-like creature.
The nameless spaceman faces many complications when exploring, such as a colossal crate and more imposing alien-like creatures running towards him in a stampede. The visuals are complemented by trippy ambient music created by Ron Geesin, who you may know as the co-composer of the ‘Atom Heart Mother’ suite with Pink Floyd.
Dunning’s short is designed to challenge the perception of time and accentuate an exhilarating experience for the viewer. Its animation is sharp and unattractive yet satisfying in the grand scheme of the short, especially when the bright colours stand out against the white background. The director allegedly constructed Moon Rock around lateral thinking ideas, meaning solving a problem through an indirect yet creative approach with inconspicuous reasoning. Dunning exemplifies this approach through that of the astronaut, who combats against the inhabited threats on the moon with a device that shoots out treats such as jelly and chocolate. The substances are selected from a slot machine visual where bold colours and dark font occupy the screen.
Moon Rock reads as fittingly on brand for the psychedelic hysteria that the 1960s and 1970s immersed itself in. The short is a trip, intended for a niche audience who are down for some whacky animation and bizarre events.
Classical music uplifts listeners. It can excite, inspire, surprise and confuse. Attendees at OLLI Orchestra’s free concert, “Melody Takes Flight,” on Sunday, December 4, will probably find the last piece, “Chicken Reel,” funny. Forget traditional holiday music! This concert’s music is all about birds. OLLI’s music will spark your imagination. You’ll hear the music while your mind’s eye sees a serious hen walking and a silly chicken dancing. You’ll see soaring birds and hear beautiful bird song.
“The Birds” (Italian: Gli Uccelli), was composed by Italian Ottorino Respighi. Dating from 1928, the composer transcribed birdsong into musical notation, and illustrated bird actions, such as fluttering wings or scratching feet. Movements include “The Dove,” “The Nightingale” and “The Cuckoo.” It’s exciting, delightful music that, when you close your eyes, you’ll soar among the trees with the violins.
“Lark Ascending” is a short work by English composer Ralph Vaughan Williams, “The piece portrays the lark’s song, movement and ‘lifts us with him as he goes.’ Larks nest on the ground then fly up. The poem helps make sense of the piece,” explains violin soloist Jolán Friedhoff. The poem the music is based on is in the concert program.
Franz Joseph Haydn is called “Father of the Symphony.” OLLI will perform his “Symphony No. 83 in G minor,” popularly known as “The Hen” (French: La Poule). The nickname comes from the clucking second subject in the first movement, which reminded listeners of the jerky back-and-forth head motion of a walking hen.
This is not silly chicken music, though. You’ll have to wait until the last piece of the concert, “Chicken Reel,” for the folk song arranged for orchestra by Leroy Anderson. It’s been used for countless cartoons.
From cleaner to the Canadian Country Music Awards, musician Dax is set to perform in the Maritimes.
While attending college and playing basketball in Wichita, Kansas, Dax worked as a part-time janitor in the school’s art department.
Little did he know, the job would change his life.
One day, Dax found himself tearing down art displays after a poetry event at the school where he found himself thinking of writing his own poem.
“I wrote my first poem, showed it to a teammate,” Dax tells CTV Atlantic. “He was like, “Wow! I can’t believe you wrote this,’ so that made me keep writing poems, and those poems eventually turned into music.”
He later started posting inventive videos for his music online, quickly growing a huge following.
“I was, like, ‘If I can personally talk to one million people myself and I’m providing a good service, then there’s no reason it shouldn’t spread.’”
Dax released his breakthrough track in 2017, along with two successful Eps and a studio album since.
Earlier this year, he released a country crossover remix called “Dear Alcohol,” an instant viral sensation.
“The response has been amazing,” said Dax. “People are getting the lyrics tattooed all over their body and things like that.”
He was even invited to perform the song at this year’s Canadian Country Music Awards.
“It was just cool, and they were really open and showing me a lot of support and love,” said Dax. “I was nervous as hell.”
The Nigerian-Canadian rapper grew up in Ottawa and has lived all over the United States, but his roots stem from the East Coast.
He may have only lived in St. John’s, N.L., for under a year, but Dax considers himself a “true blood Newfie.”
And he’s excited to be back in Atlantic Canada for two shows this month. Dax is performing in Moncton on Dec. 10 and in Halifax on Dec. 11 in support of his latest album “Pain Paints Paintings.”
In my journey through the 7″ Singles in my collection, we are to one I don’t know when or where I ever bought this one. The single is for Hall & Oates song “Out of Touch”. I do like Hall & Oates and this song so I’m sure I bought it, but for the life of me can’t remember anything. I do know this was the first single off the band’s 1984 album ‘Big Bam Boom’. It was the band’s last #1 song and it was their 14th Consecutive Top 40 hit since 1980. That was a pretty impressive run.
The song was written by Daryl Hall and John Oates. The chorus had come to John when he was playing around on his synthesizer and thought it would be great for the band The Stylistics since had this whole Philly swing to it. The producer of their album, Bob Clearmountain, thought differently the next in the studio and said they have a hit. Well, he was right, they did.
My copy is the standard U.S. version and the B-Side is another album tracks called “Cold, Dark And Yesterday”. What I find interesting about my copy is the wear & tear on the piece of vinyl. Is that circular fading a result of being played a million times in a Jukebox or regular turntable. I would think a Jukebox as whatever was grabbing it wore off the label. But it still plays beautifully with no pops or any other noises.
A-SIDE:
The song is about two people who have drifted apart and no fault of their own, they are just growing in different directions. The line…”We’re soul alone / And soul really matters to me /Too much”…sums it all up. For Hall & Oates, “Soul” is important and a big theme for the band. If you are alone and soul isn’t growing, then it is time to move on and that is basically the theme to the song. The couple aren’t good for each other’s soul anymore and they out of touch with each other despite that they still love each other. Time to move on.
“Out of Touch” is a great little pop song. This is 1984 and it is full of synthesizers but the guitar work is still great as you have G.E. Smith on the guitar. There is a Philly, soulful sound and Daryl Hall masterfully delivers the lyrics with his smooth vocals that hit you in your soul. It is a great pop song
B-SIDE:
The B-Side is the song “Cold, Dark And Yesterday” off the ‘Big Bam Boom’ album. It is more synthesized out than the “Out of Touch”. John Oates sings this one and he was the sole songwriter as well. The drum is electronically programmed as well and it is an irritating beat in my opinion. There is nothing catchy about it, the chorus is weak and the electronic elements really turn me off from this one. Not a great song to compliment the A-Side in my opinion.
And there you have it, another 7″ Single in the collection. I am starting to run low, so might need to buy some more when I see some good ones. Thanks for stopping by and have a great day!
A fairy-tale mash-up featuring the songs of Britney Spears will arrive on Broadway next spring, after enchanting D.C. theatregoers in its world premiere last winter.
The jukebox musical “Once Upon a One More Time” begins Broadway previews May 13 at the Marquis Theatre in New York, producers James L. Nederlander and Hunter Arnold announced Friday. The official opening night is set for June 22.
“We’re just really proud to have made the contributions to take it to that next level,” said Chris Jennings, executive director of the Shakespeare Theatre in D.C., where the musical ran from November 2021 to January, selling out the 774-seat Sidney Harman Hall and earning a one-week extension.
Jennings told The Washington Post that the high-octane, extremely non-biographical musical — his company’s first full production since the pandemic began — was the best-selling show in its 36-year history.“This show was such a gift and so essential after having been shut for so long,” he said.
Britney Spears joins Elton John for first song since conservatorship ended
A slew of recent Broadway shows, including the now-running “MJ the Musical” about Michael Jackson and “A Beautiful Noise: The Neil Diamond Musical,” have followed a biographical formula, weaving theartists’ songs into a plot built around their life story.
“Once Upon a One More Time” goes a more fantastical route, deploying Spears chart-toppers such as “Oops! … I Did It Again,” “Circus” and “Toxic” as it tells a storybook-like tale in which Cinderella, Snow White and their fellow princesses experience a feminist awakening after reading Betty Friedan’s “The Feminine Mystique.” It avoids the potentially thorny challenge of navigating the 41-year-old pop star’s personal life, including a recently terminated conservatorship that gave her father and others almost complete control over her personal life and finances.
“The only thing I was told was that [Spears] loves fairies,” the show’s writer, Jon Hartmere, told The Post last fall. He said he was also given access to Spears’s entire discography. “And I was like, ‘That’s it, that’s what we’ve got to go on.’ ”
Spears has not been actively involved in its development. “I’m so excited to have a musical with my songs, especially one that takes place in such a magical world filled with characters that I grew up on, who I love and adore,” Spears said in a statement after attending a reading of the show in 2019. Her publicist did not immediately respond to a request for comment about the show’s Broadway run.
“Once Upon a One More Time” will move into the Marquis Theatre after “Beetlejuice” — another musical that originated in D.C. — plays its final performance there Jan. 8.
The show’s Broadway cast will be announced at a later date. It is directed and choreographed by the married team of Keone and Mari Madrid, experienced hip-hop choreographers helming their first Broadway show. They’ll be aided by creative consultant David Leveaux, a five-time Tony-nominated director. Scenic designer Anna Fleischle and costume and hair designer Loren Elstein will return after working on the D.C. staging, and Tony-winning lighting designer Kenneth Posner (“Wicked”) will join the production.
Review: This just in! ‘Much Ado’ set in a TV news studio is nothing but fun
The D.C. run featured sitcom veteran Briga Heelan (“Ground Floor,” “B Positive”) as Cinderella and “American Idol” alumnus Justin Guarini as Prince Charming. Jennings said the Shakespeare Theatre will have a financial interest in the musical’s Broadway run.
“If the show [is] successful, this will be of a future financial benefit to the theater, which allows us to reinvest in the work that we do and the development of other works,” Jennings said.
In a mixed review last December, Post theater critic Peter Marks called “Once Upon a One More Time” a “vigorous show that you wish would slow down to catch its breath,” but expressed interest in its future. “That potential makes me think it will be worthwhile sometime down the road to see the show at least once more, upon a one more time.”
Tickets for “Once Upon a One More Time” go on sale to the general public Monday.
One of Ireland’s most acclaimed and prolific authors shares with Ben Haugh some of the most important things he has learned and observed about the art of reading and writing
Colm Tóibín is one of Ireland’s most prolific writers, having penned ten novels, nine non-fiction books, along with many short stories, novellas and even a play. The acclaimed author’s works have been shortlisted for the Booker Prize multiple times, and his honours include the Costa Novel Award, the Impac Award and the David Cohen Prize for Literature last year. Tóibín’s latest book, A Guest at the Feast, is a collection of essays published over the …
