Latest news with #Rewind
Yahoo
6 days ago
- Entertainment
- Yahoo
Charli xcx Brings Out Bladee for Live Debut of ‘Rewind' Remix at London's Lido Festival, Declares ‘Brat' Summer a ‘Forever Thing'
Charli xcx declared 'Brat' summer a 'forever thing' during her headlining set at Lido Festival in London on Saturday night, just over a year since the album released and took over the music world. At the end of the hour-long performance, Charli left fans with a written message displayed on the stage's screen with flashing lights: ''Brat' summer is over. But actually… I don't think it is. So tell me the truth: Will you hate me if I stick around? Because honestly I don't know who I am if it's over. And so… I've decided I want this to last forever. It wasn't just a summer thing… it's a forever thing. Please don't let it be over.' More from Variety Charli xcx Drops 'Party 4 U' Video Five Years After Release '100 Nights of Hero,' Fairy Tale Romance Starring Emma Corrin, Charli XCX, Nicholas Galitzine, Maika Monroe Sells to Independent Film Company (EXCLUSIVE) Charli xcx to Star in and Produce 'Audition' Director Takashi Miike's Next Film (EXCLUSIVE) The avant-pop pioneer also brought out elusive Swedish rapper Bladee for the first-ever live performance of their 'Rewind' remix, though it wasn't without technical difficulties. The original version of 'Rewind' was played at first, with Charli singing through the lyrics: 'I used to never feel embarrassed/Feel embarrassed when I called up the paparazzi.' She then realized and said, 'Wait, hold on. We gotta stop, we gotta stop. Are we doing the wrong version?' As the crowd chattered in confusion, Charli walked off stage for a brief moment as Bladee greeted the crowd. 'What's up, London? Let's try again.' After Charli and Bladee hugged it out, the remixed version of the song started to play. 'My bad!' Charli added. Charli xcx halts a performance of 'Rewind' ft. Bladee at London's #LidoFestival: 'Hold up, are we doing the wrong version?' — Variety (@Variety) June 14, 2025 Bladee had just headlined the event's second stage as part of Charli's curated 'Partygirl' lineup at Lido Festival. Other performers included the Dare, who brought out Pink Pantheress for their song 'Stateside'; French DJ Gasaffelstein, who delivered his set covered in dark silver body paint; the Japanese House; 070 Shake; A.G. Cook; Magdalena Bay; and Kelly Lee Owens. Elsewhere in Charli's set, 'Chicken Shop Date' host Amelia Dimoldenberg was selected as the 'Apple' girl, performing the viral TikTok dance as fans shouted in approval. Paul Mescal and Harris Dickinson — who are set to portray Paul McCartney and John Lennon, respectively, in the upcoming Beatles biopics — were also spotted together in the crowd (with many hoping they would be the 'Apple' dancers). Dickinson was at the fest to support his girlfriend, Rose Gray, who performed on the festival's club stage. Amelia Dimoldenberg from "Chicken Shop Date" as Charli XCX's "Apple" girl. — Variety (@Variety) June 14, 2025 Charli xcx will continue her 'Brat' festival tour with a highly anticipated set at Glastonbury later this month. Best of Variety New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? 25 Hollywood Legends Who Deserve an Honorary Oscar
Yahoo
6 days ago
- Entertainment
- Yahoo
Charli xcx Brings Out Bladee for Live Debut of ‘Rewind' Remix at London's Lido Festival, Declares ‘Brat' Summer a ‘Forever Thing'
Charli xcx declared 'Brat' summer a 'forever thing' during her headlining set at Lido Festival in London on Saturday night, just over a year since the album released and took over the music world. At the end of the hour-long performance, Charli left fans with a written message displayed on the stage's screen with flashing lights: ''Brat' summer is over. But actually… I don't think it is. So tell me the truth: Will you hate me if I stick around? Because honestly I don't know who I am if it's over. And so… I've decided I want this to last forever. It wasn't just a summer thing… it's a forever thing. Please don't let it be over.' More from Variety Charli xcx Drops 'Party 4 U' Video Five Years After Release '100 Nights of Hero,' Fairy Tale Romance Starring Emma Corrin, Charli XCX, Nicholas Galitzine, Maika Monroe Sells to Independent Film Company (EXCLUSIVE) Charli xcx to Star in and Produce 'Audition' Director Takashi Miike's Next Film (EXCLUSIVE) The avant-pop pioneer also brought out elusive Swedish rapper Bladee for the first-ever live performance of their 'Rewind' remix, though it wasn't without technical difficulties. The original version of 'Rewind' was played at first, with Charli singing through the lyrics: 'I used to never feel embarrassed/Feel embarrassed when I called up the paparazzi.' She then realized and said, 'Wait, hold on. We gotta stop, we gotta stop. Are we doing the wrong version?' As the crowd chattered in confusion, Charli walked off stage for a brief moment as Bladee greeted the crowd. 'What's up, London? Let's try again.' After Charli and Bladee hugged it out, the remixed version of the song started to play. 'My bad!' Charli added. Charli xcx halts a performance of 'Rewind' ft. Bladee at London's #LidoFestival: 'Hold up, are we doing the wrong version?' — Variety (@Variety) June 14, 2025 Bladee had just headlined the event's second stage as part of Charli's curated 'Partygirl' lineup at Lido Festival. Other performers included the Dare, who brought out Pink Pantheress for their song 'Stateside'; French DJ Gasaffelstein, who delivered his set covered in dark silver body paint; the Japanese House; 070 Shake; A.G. Cook; Magdalena Bay; and Kelly Lee Owens. Elsewhere in Charli's set, 'Chicken Shop Date' host Amelia Dimoldenberg was selected as the 'Apple' girl, performing the viral TikTok dance as fans shouted in approval. Paul Mescal and Harris Dickinson — who are set to portray Paul McCartney and John Lennon, respectively, in the upcoming Beatles biopics — were also spotted together in the crowd (with many hoping they would be the 'Apple' dancers). Dickinson was at the fest to support his girlfriend, Rose Gray, who performed on the festival's club stage. Amelia Dimoldenberg from "Chicken Shop Date" as Charli XCX's "Apple" girl. — Variety (@Variety) June 14, 2025 Charli xcx will continue her 'Brat' festival tour with a highly anticipated set at Glastonbury later this month. Best of Variety New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? 25 Hollywood Legends Who Deserve an Honorary Oscar
Toronto Star
07-06-2025
- Entertainment
- Toronto Star
‘After the Rain': This new Canadian musical strikes gold in song, but falls flat in its story
After the Rain 2.5 stars (out of 4) Music and lyrics by Suzy Wilde, book by Rose Napoli, directed by Marie Farsi. Until June 22 at the Tarragon Theatre Mainspace, 30 Bridgman Ave. or 416-531-1827 When 'After the Rain' breaks into song, it strikes gold. Nay, perhaps even platinum. That's not altogether surprising. After all, this new musical, which opened Wednesday at Tarragon Theatre, is about a fictional, 'Canada famous' band, the Evans Stone. And its folk-rock score is written by none other than Suzy Wilde, one of Toronto's most talented yet underrated composers, who's already made a mark with shows like 'Be Kind, Rewind' and 'The Carrette Sisters.' Unfortunately, the rest of 'After the Rain' isn't nearly as sterling — hampered by Rose Napoli's awkward book and some ineffectual direction by Marie Farsi. ARTICLE CONTINUES BELOW The musical's story, inspired by true events (its lead character is based on Wilde herself), recalls other shows in the small but growing genre of fictional bands. Its behind-the-scenes drama is reminiscent of the acclaimed Broadway play 'Stereophonic,' about a rock group on the cusp of superstardom. And its sweet, coming-of-age tale mines similar thematic territory as the 2016 film 'Sing Street.' But the intimate narrative of 'After the Rain' remains frustratingly hazy, never managing to emerge from the shadow of Wilde's galvanizing music. At its centre is Suzie (Annika Tupper), the 20-something daughter of Ashley Evans (Andrew Penner) and Jean Stone (Deborah Hay), the two core members of the Evans Stone band. Andrew Penner and Deborah Hay in 'After the Rain.' Dahlia Katz/Tarragon Theatre The trio aren't necessarily a dysfunctional family, but a sense of dysfunctional ennui permeates their lives. As they prepare to head out on a new tour, Ashley and Jean are at loggerheads about how they can replicate the band's success from the '90s. Ashley wants to stick with what's tried and true; Jean feels their only path forward is to write new songs and innovate. Meanwhile, Suzie, who narrates the show, doesn't know where she belongs — or if that's even in the band. But she finds clarity when she unexpectedly agrees to take on one of her father's piano students, Jean (also played by Hay), a complete beginner who only wants to master one song: Erik Satie's wistful 'Gymnopédie No. 1.' Wilde's songs do much of the heavy lifting throughout the musical. Many are full-fledged bangers — with rousing choruses, soaring harmonies and virtuosic instrumentals. (Can we get a cast recording, please?) ARTICLE CONTINUES BELOW ARTICLE CONTINUES BELOW Her lyrics are startling as well. Deeply suggestive, they set the mood for the rest of the show, hinting at the melancholy, hope and frustration of each of the characters. The music in 'After the Rain,' however, is unlike that of a traditional musical, in which spoken dialogue seamlessly transitions into song, with the characters unaware that they're singing. Here, the score is almost entirely diegetic, originating within the world of the show. The numbers are meant to be songs that the characters have written. They're mostly performed by the band in concert or in rehearsal — and when they're sung, there's a sense of self-awareness. Shaemus Swets and Annika Tupper in 'After the Rain.' Dahlia Katz/Tarragon Theatre In that way, 'After the Rain' could be considered more of a play with music than a standard musical, because the songs can't completely probe the inner thoughts and emotions of each character. Instead, it's up to the dialogue to do that. But Napoli's book scenes, linking the musical numbers together, aren't up to that task and largely disappoint. While she does a compelling job early on of establishing the high strung atmosphere in the band's rehearsal room, it comes at the expense of developing the musical's characters, along with the key conflicts among them. The tension in the first act almost entirely hinges on the reveal of why Jean only wants to learn one song. Other supporting characters (such as the rest of the band members, played by Joe 'Jojo' Bowden on drums and Brandon McGibbon on bass guitar) are introduced then entirely forgotten. Suzie, too, remains an indistinct protagonist. ARTICLE CONTINUES BELOW ARTICLE CONTINUES BELOW The second half of 'After the Rain' is the stronger act. But still, important emotional beats rarely land with the impact that they could have, because they lack the necessary foregrounding earlier in the musical. By far the most underdeveloped relationship: the one between Suzie and her mother. What's not in short supply in this show, however, is audience participation. (If you're sitting anywhere in the first row: beware.) But all of it, though charming at first, feels misplaced, and mostly distracts from the story. Farsi's direction also mostly misses. She's completely transformed the Tarragon Theatre Mainspace for this production. Gone is the normal proscenium setting. In its place is a traverse stage, with the audience sitting on opposite sides of the action. From left: Joe 'Jojo' Bowden, Brandon McGibbon, Deborah Hay, Andrew Penner and Annika Tupper in 'After the Rain.' Dahlia Katz/Tarragon Theatre David Boechler's set features a raised platform at its centre, which neatly transforms into a grand piano when the action shifts to Jean's home. It's an innovative setup, but also results in some cumbersome staging. Particularly when there's only one character on that raised platform, Farsi has them constantly turning back and forth between the two sets of audiences. The cast make the most of their underwritten roles. Tupper possesses a shimmering voice; Hay accentuates the contrasts between her two characters; and Penner, with his distinctively husky voice and a chain necklace around his neck (the costumes are by Ming Wong), leans into Ashley's full rocker persona. But together, when they sing, the music-making is glorious. Close your eyes, and you'll be transported.
Toronto Star
06-06-2025
- Entertainment
- Toronto Star
‘After the Rain' review: This new Canadian musical strikes gold in song, but falls flat in its story
After the Rain 2.5 stars (out of 4) Music and lyrics by Suzy Wilde, book by Rose Napoli, directed by Marie Farsi. Until June 22 at the Tarragon Theatre Mainspace, 30 Bridgman Ave. or 416-531-1827 When 'After the Rain' breaks into song, it strikes gold. Nay, perhaps even platinum. That's not altogether surprising. After all, this new musical, which opened Wednesday at Tarragon Theatre, is about a fictional, 'Canada famous' band, the Evans Stone. And its folk-rock score is written by none other than Suzy Wilde, one of Toronto's most talented yet underrated composers, who's already made a mark with shows like 'Be Kind, Rewind' and 'The Carrette Sisters.' Unfortunately, the rest of 'After the Rain' isn't nearly as sterling — hampered by Rose Napoli's awkward book and some ineffectual direction by Marie Farsi. ARTICLE CONTINUES BELOW The musical's story, inspired by true events (its lead character is based on Wilde herself), recalls other shows in the small but growing genre of fictional bands. Its behind-the-scenes drama is reminiscent of the acclaimed Broadway play 'Stereophonic,' about a rock group on the cusp of superstardom. And its sweet, coming-of-age tale mines similar thematic territory as the 2016 film 'Sing Street.' But the intimate narrative of 'After the Rain' remains frustratingly hazy, never managing to emerge from the shadow of Wilde's galvanizing music. At its centre is Suzie (Annika Tupper), the 20-something daughter of Ashley Evans (Andrew Penner) and Jean Stone (Deborah Hay), the two core members of the Evans Stone band. Andrew Penner and Deborah Hay in 'After the Rain.' Dahlia Katz/Tarragon Theatre The trio aren't necessarily a dysfunctional family, but a sense of dysfunctional ennui permeates their lives. As they prepare to head out on a new tour, Ashley and Jean are at loggerheads about how they can replicate the band's success from the '90s. Ashley wants to stick with what's tried and true; Jean feels their only path forward is to write new songs and innovate. Meanwhile, Suzie, who narrates the show, doesn't know where she belongs — or if that's even in the band. But she finds clarity when she unexpectedly agrees to take on one of her father's piano students, Jean (also played by Hay), a complete beginner who only wants to master one song: Erik Satie's wistful 'Gymnopédie No. 1.' Wilde's songs do much of the heavy lifting throughout the musical. Many are full-fledged bangers — with rousing choruses, soaring harmonies and virtuosic instrumentals. (Can we get a cast recording, please?) ARTICLE CONTINUES BELOW ARTICLE CONTINUES BELOW Her lyrics are startling as well. Deeply suggestive, they set the mood for the rest of the show, hinting at the melancholy, hope and frustration of each of the characters. The music in 'After the Rain,' however, is unlike that of a traditional musical, in which spoken dialogue seamlessly transitions into song, with the characters unaware that they're singing. Here, the score is almost entirely diegetic, originating within the world of the show. The numbers are meant to be songs that the characters have written. They're mostly performed by the band in concert or in rehearsal — and when they're sung, there's a sense of self-awareness. Shaemus Swets and Annika Tupper in 'After the Rain.' Dahlia Katz/Tarragon Theatre In that way, 'After the Rain' could be considered more of a play with music than a standard musical, because the songs can't completely probe the inner thoughts and emotions of each character. Instead, it's up to the dialogue to do that. But Napoli's book scenes, linking the musical numbers together, aren't up to that task and largely disappoint. While she does a compelling job early on of establishing the high strung atmosphere in the band's rehearsal room, it comes at the expense of developing the musical's characters, along with the key conflicts among them. The tension in the first act almost entirely hinges on the reveal of why Jean only wants to learn one song. Other supporting characters (such as the rest of the band members, played by Joe 'Jojo' Bowden on drums and Brandon McGibbon on bass guitar) are introduced then entirely forgotten. Suzie, too, remains an indistinct protagonist. ARTICLE CONTINUES BELOW ARTICLE CONTINUES BELOW The second half of 'After the Rain' is the stronger act. But still, important emotional beats rarely land with the impact that they could have, because they lack the necessary foregrounding earlier in the musical. By far the most underdeveloped relationship: the one between Suzie and her mother. What's not in short supply in this show, however, is audience participation. (If you're sitting anywhere in the first row: beware.) But all of it, though charming at first, feels misplaced, and mostly distracts from the story. Farsi's direction also mostly misses. She's completely transformed the Tarragon Theatre Mainspace for this production. Gone is the normal proscenium setting. In its place is a traverse stage, with the audience sitting on opposite sides of the action. From left: Joe 'Jojo' Bowden, Brandon McGibbon, Deborah Hay, Andrew Penner and Annika Tupper in 'After the Rain.' Dahlia Katz/Tarragon Theatre David Boechler's set features a raised platform at its centre, which neatly transforms into a grand piano when the action shifts to Jean's home. It's an innovative setup, but also results in some cumbersome staging. Particularly when there's only one character on that raised platform, Farsi has them constantly turning back and forth between the two sets of audiences. The cast make the most of their underwritten roles. Tupper possesses a shimmering voice; Hay accentuates the contrasts between her two characters; and Penner, with his distinctively husky voice and a chain necklace around his neck (the costumes are by Ming Wong), leans into Ashley's full rocker persona. But together, when they sing, the music-making is glorious. Close your eyes, and you'll be transported.
GMA Network
05-06-2025
- Entertainment
- GMA Network
Xyriel Manabat hopes to work with Marian Rivera, Dingdong Dantes: 'Isa rin ako sa mga humahanga'
Marian Rivera and Dingdong Dantes are the Kapuso celebrities that Xyriel Manabat wants to work with. In an interview with GMA News Online, the former 'Pinoy Big Brother: Celebrity Collab Edition' housemate said that she wants to work with the Kapuso Primetime King and Queen because she is a fan of their craft. 'Isa kasi sila sa mga icons. Isa rin sila sa grabe ang labanan ng face card. At the same time, isa rin ako sa mga humahanga sa mga piece na ginagawa nila whether movie or kung ano mong palabas 'yan,' Xyriel shared. 'And recently, pinanood talaga namin 'yung 'Rewind' tapos nakasama pa namin si Sir Dong sa loob ng bahay. So, parang lalo lang tumakas 'yung respeto, 'yung paghanga ko sa kanilang mag-asawa." Aside from their acting prowess, the Kapamilya star added she is also impressed by DongYan's dynamics as parents. 'Sobra rin akong hanga sa family nila. The way they handle their family, 'yung mga anak nila, basta 'yung parenting nila. But as a person, isa sila sa mga hinahangaan ko.' Xyriel is the latest housemate to get evicted from the "PBB" house during the show's first-ever individual eviction night. She exited alongside Sparkle star Vince Maristela. 'Pinoy Big Brother: Celebrity Collab Edition' airs new episodes on GMA Network on weekdays at 10 p.m. and weekends at 6:15 p.m. —CDC, GMA Integrated News
