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August 13, 2020 By simplyk   Comments Off on Renee Fleming and Kelli O’Hara Will Star in Opera Adaptation of THE HOURS 2022

The opera will arrive at the Met in 2022.

 

Renee Fleming and Kelli O'Hara Will Star in Opera Adaptation of THE HOURS

In a recent interview with the New York Times, Broadway veteran and opera superstar Renee Fleming revealed that she, Tony winner Kelli O’Hara, and Joyce DiDonato will star in a new opera based on the Michael Cunningham novel and 2002 film, The Hours. The piece, composed by Pulitzer Prize winner Kevin Puts, will debut at the Met in the fall of 2022.

In the opera, Fleming will play Clarissa (portrayed by Meryl Streep in the film), with Kelli O’Hara as Laura, and Joyce DiDonato as Virginia Woolf.

“It’s a triple threat of actresses and fascinating characters,” she told the NYT.

The Hours focuses on three women of different generations whose lives are interconnected by the 1925 novel Mrs Dalloway by Virginia Woolf. These are Clarissa Vaughan, a New Yorker preparing an award party for her AIDS-stricken long-time friend and poet, Richard in 2001; Laura Brown, a pregnant 1950s California housewife in an unhappy marriage with a young son; and Virginia Woolf herself in 1920s England, who is struggling with depression and mental illness while trying to write her novel.

 

 

 

 

 

https://www.broadwayworld.com/article/Renee-Fleming-and-Kelli-OHara-Will-Star-in-Opera-Adaptation-of-THE-HOURS-20200730

July 15, 2019 By simplyk   Comments Off on King And I press in Tokyo 2019, King And I, Video

June 20, 2019 By simplyk   Comments Off on Kelli coming to London 2019, Concert

Broadways and Tony Awards winner Kelli O'Hara is coming back to London on 10th November 2019 to play Cadogan Hall

Get Tickets from www.club11.london/kelli

Slået op af Club11LondonMandag den 10. juni 2019

June 18, 2019 By simplyk   Comments Off on Kiss Me, Kate Actors Fund Curtain Speech – 6.9.19 2019, awards, Broadway, Kiss Me Kate

June 7, 2019 By simplyk   Comments Off on Go behind-the-scenes at KISS ME, KATE 2019, Broadway, Kiss Me Kate

Another op'nin', another view! Go behind-the-scenes at KISS ME, KATE.

Slået op af Roundabout Theatre CompanyFredag den 17. maj 2019

June 6, 2019 By simplyk   Comments Off on Arts for Autism – See Kelli, and dozens of her Broadway peers performing together on June 24th 2019

You heard Kelli! You gotta come!

See Kelli, and dozens of her Broadway peers performing together on June 24th to…

Slået op af Arts for AutismTirsdag den 4. juni 2019

June 6, 2019 By simplyk   Comments Off on HOW KELLI O’HARA GETS READY FOR BROADWAY, NIGHT AFTER NIGHT 2019, Broadway, Kiss Me Kate

THE TONY-WINNING ACTRESS TAKES US INSIDE HER DRESSING ROOM AND SHARES HER TWO-HOUR PRE-CURTAIN REGIMEN.

 

 

Kelli O’Hara kisses her children and husband goodbye, buys a salad and boards a train in coastal Connecticut eight times a week to star as Lilli/Kate in “Kiss Me, Kate,” the Tony-nominated revival at Studio 54 for which O’Hara herself was nominated this year, too, for Best Actress in a musical. It’s her seventh Tony nomination — she has one win, in 2015 for Best Actress in “The King and I” — and it’s her 11th Broadway show. She has been doing this for a very long time.

Kelli O’Hara and Will Chase running through the choreography for a fight scene in “Kiss Me, Kate.”Video by Sasha Arutyunova

It’s a different crowd every night. That might seem obvious, but it doesn’t always make sense when it’s the same group of indistinct, shadowed faces. Once you’ve got the lines, the songs, the dance moves, the real work is in figuring out a way to deliver them to the people as if they were the only ones to ever receive them.

O’Hara’s dressing room is small, but big for Broadway. It’s filled with flowers sent over by people congratulating her for her nomination. But this year she is not nervous: She has what she calls the “Zen release” of already having won one. Plus, people love an underdog. The minute you’re not an underdog, yes, you won, but that’s not really the same as everyone loving you.

She arrives at the theater sometime between 6 and 6:30 each evening — earlier, obviously, for the matinees — so that she can steam her vocal cords with a personal humidifier she bought at CVS and do her vocal exercises (soft scales and consonants). That has always been part of her routine, but now she also does yoga in the hour before performance: sun salutation, high lunge, side angle pose, triangle.

During the sun salutation, she beseeches her Alexa to time her for a minute in a plank, and during that minute she holds her body in a tight line, hovering above the Oriental rug that is part of the homey atmosphere that someone else created for her. Some of the stuff is hers: the pictures her kids made that hang around the bulbed mirror, a toy box for when they visit, the collection of teas, the crepe-paper streamers from her birthday a few weeks ago. But mostly it’s someone else’s stuff: curtains, a pink velvet fainting couch, books on the shelves. The minute is almost over.

She didn’t always need to do this; it used to be that she could just go onstage. But she’s 43 now, and she’s rubbing the acromion region of her shoulder as she talks — no injury, it just hurts. So, yes, if she doesn’t warm her body up, she’ll feel it later. It never even occurred to her, except that last summer she performed in London, where they have mandatory warm-ups; it changed her thinking. Her kids are small, 9 and 5, so sometimes she might run late and shorten the warm-ups, though if she does that, she suffers: She will be achy, or she won’t have enough energy. She has worked on films and on TV, and she knows that those people, who don’t even perform every night, who rarely sing while they act and who know that they have infinite chances to get a take right, have massage therapists waiting on set.

O’Hara’s hair is pinned in curls so that a microphone can be wired beneath her wig.

Around 7:15 p.m., she is called down to the stage for fight call, in which she and Will Chase, who plays her ex-husband, run through the choreography of their extended fight scene, in which she kicks him in the butt several times and he kicks her butt (revivals are weird). They do this every day, no matter what, to remind themselves that there’s acting, there’s singing, but there’s also the risk of becoming so relaxed with each other — indeed, they do this entire rehearsal laughing — that they get hurt. There are so many moving parts in the show, and none of them can stop if you get hurt. Just look at her ring finger: There’s maybe about four millimeters of nail in the nail bed and nothing more because she got her hand stuck in a door one night in February, during the “I Hate Men” number. She slammed the door, and … her finger was inside the door. She couldn’t figure out why it wasn’t coming free. She stopped for a second, but she still had one phrase left to sing. She called for help in the pause, and once her hand was released, she managed to finish, in shock. Her nail was gone. The point is, if you’re prepared on other fronts, it’s easier to handle the occasional crisis.

She spends some time with her mouth over a vocal steamer, but then Richard, the hair guy, comes in to spin her blond hair into pin curls so that he can weave a microphone through them and then seal them under a stocking and then put someone else’s blond hair on top of the stocking. Richard just did this for another actress in the room across the way. He does almost 100 pin curls a night. How long has Richard been doing this? He was the first person to ever pin curl O’Hara for her first Broadway show 17 years ago.

Almost ready to go onstage.

She spends the rest of her time doing her own makeup. Someone at the beginning of the show’s run will teach her what her makeup should be like, but from then on, it’s just her, just some CoverGirl, just some Maybelline, just some Nars, just some Chanel, just some MAC. Last year, she was performing at the Met, and on a night when they were recording the performance in HD, they did this dramatic makeup for her, but it was really too much, so she needed it taken off. The makeup is everything. You have to look like a real person so that you feel like a real person.

A man calls through an intercom that it’s 30 minutes to showtime, then 15. It’s time for O’Hara to dress. It’s time for her to find the thing inside her that is somehow able to remember that the people in the audience are seeing this for the first time, that they deserve the best of her. How do you keep a thing like that in your head? She closes the door, and now she does her real vocal exercises, the ones she didn’t want to do in front of a reporter, the reporter guesses, and now, throughout backstage, there’s the sound of opera, the sound of theater, the sound that all those two hours created and erected and built toward fortitude. Now she’s ready.

Taffy Brodesser-Akner is a staff writer for the magazine and the author of the novel “Fleishman Is in Trouble,” to be published this month. Brenda Ann Kenneally is a documentary maker, an educator, a Guggenheim fellow and the author of two books, most recently, “Upstate Girls.” Sasha Arutyunova is a Moscow-born, Brooklyn-based photographer and director.

See Kelli O’Hara in “Kiss Me, Kate” at Studio 54 through June 30.

 

It’s a different crowd every night. That might seem obvious, but it doesn’t always make sense when it’s the same group of indistinct, shadowed faces. Once you’ve got the lines, the songs, the dance moves, the real work is in figuring out a way to deliver them to the people as if they were the only ones to ever receive them.

O’Hara’s dressing room is small, but big for Broadway. It’s filled with flowers sent over by people congratulating her for her nomination. But this year she is not nervous: She has what she calls the “Zen release” of already having won one. Plus, people love an underdog. The minute you’re not an underdog, yes, you won, but that’s not really the same as everyone loving you.

She arrives at the theater sometime between 6 and 6:30 each evening — earlier, obviously, for the matinees — so that she can steam her vocal cords with a personal humidifier she bought at CVS and do her vocal exercises (soft scales and consonants). That has always been part of her routine, but now she also does yoga in the hour before performance: sun salutation, high lunge, side angle pose, triangle.

 

 

– Read More –

June 6, 2019 By simplyk   Comments Off on From Vanity Fair June 2019 2019, Kiss Me Kate

Kelli O’HARA

Role: Kate / Lilli Vanessi in Cole Porter’s Kiss Me Kate

“I think the Great American Playwright is often writing about the things that they weren’t allowed to talk about in their own homes,” says O’Hara, who sees theater as a type of therapy: “People go in and wonder why they have these guttural reactions, why their heart just bursts.”

May 7, 2019 By simplyk   Comments Off on Conversations with the cast of KISS ME, KATE 2019, Broadway, Kiss Me Kate

May 1, 2019 By simplyk   Comments Off on VIDEO: The Cast of KISS ME, KATE Performs ‘Too Darn Hot’ on TODAY 2019, Broadway, Kiss Me Kate