Good morning! Cate Blanchett’s Anna Petrovna received its first American nod at the Drama League Awards: Cate is nominated for The Distinguished Performance Award. The award ceremony is set for May 19 in New York.
Earlier today, Cate Blanchett and Richard Roxburgh attended the unveiling ceremony of their Sardi’s caricature. Sardi’s is a restaurant located in the Theater District in Manhattan, New York City. The restaurant is known for the hundreds of caricatures of stars that adorn its walls. Here are some photos and two videos.
Cate Blanchett Unveiling [Video]
Richard Roxburgh Unveiling [Video]
On March 3, Cate Blanchett visited The Late Show with Stephen Colbert to promote The Present, on Broadway until March 19. Watch the full interview below. We’ve added also screencaps, stills and candids. Enjoy!
Good morning! Cate Blanchett promotes The Present in the new episode of The Art Hour on air on BBC UK Radio. Don’t miss her tomorrow (March 5th) a little after 4 p.m. local time. If you can’t, don’t worry, reruns calendar is here
Hi everybody! Some news about The Present!
The Sydney Theatre Company production of The Present, which plays Broadway’s Barrymore Theatre, has announced a digital lottery that begins February 15. The lottery is powered by Shubert Ticketing through the Telecharge Digital Lottery platform, which provides theatregoers access to affordable tickets through multiple social networks. To enter the lottery, visit thepresentbroadway.com/lottery.
Andrew Upton’s new adaptation of Anton Chekhov’s first play, Platonov, The Present is directed by John Crowley and stars Cate Blanchett and Richard Roxburgh. The limited engagement continues through March 19 at the Barrymore (243 West 47th Street).
The cast features the Sydney Theatre Company cast of 13, all making their Broadway debuts, including Blanchett (Anna) and Roxburgh (Mikhail), as well as Anna Bamford (Maria), Andrew Buchanan (Osip), David Downer (Yegor), Eamon Farren (Kirill), Martin Jacobs (Alexei), Brandon McClelland (Dimitri), Jacqueline McKenzie (Sophia), Marshall Napier (Ivan), Susan Prior (Sasha), Chris Ryan (Sergei), and Toby Schmitz (Nikolai).
The Present is produced on Broadway by Stuart Thompson, Sydney Theatre Company, Jon B. Platt, Scott M. Delman, Ruth Hendel, The Shubert Organization, Robert G. Bartner, John Gore, and Jimter Productions LLC.
via The Playbill
Good morning to you all! Cate Blanchett promotes The Present with InStyle, during the launch of the new Sì Rose Signature. Enjoy!
With over 25 years of stage experience, Cate Blanchett is a veteran when it comes to the theater. But while the Oscar-winning Australian actress has performed in stage productions around the globe, her recent Broadway debut in The Present managed to keep her on her toes. Written by Blanchett’s husband, Andrew Upton, the limited-run play was initially performed in Sydney before it made the move to New York City in December—and for Blanchett, the new setting offered a completely fresh perspective on the project.
“It’s very interesting to perform the play for an American audience now, because everyone—no matter who you voted for—is in such a state of turmoil,” she told InStyle last week while celebrating the launch of Giorgio Armani’s new Si Rose Signature fragrance (she’s the face of the collection). “There are uncertain days; it’s very fragile. And the play deals a lot with the fragility and lack of time.” Blanchett’s character, Anna, is facing those topics head-on in The Present. The entire play focuses on the widowed Anna’s 40th birthday, which she’s celebrating with a group of friends at her Russian country house. With time to kill and plenty of booze to go around, things soon spiral out of control as Anna and co. reminisce about the past and revisit old relationships while trying to figure out their next steps in life.
Blanchett explains that she relates to her character’s fear of the unknown the most. “She’s very unresolved about her past and uncertain about her future,” said the 47-year-old star. “I probably share her uncertainty about the future, and I don’t think I’m alone there.” While Blanchett is similar to Anna on that front, she’s more interested in the ways that she’s unlike her stage persona. “I’m always looking for the points of difference, I think, between me and a character,” she said. “So it’s not necessarily that I share personality traits with her, but I definitely connect with her preoccupation with time being so precious and so important; spending time with people, and how little we do it. That’s probably where I connect with her most.”
Anna’s perspective on aging—and, specifically, turning 40—is wrought with mixed emotions, but for Blanchett, it’s simply a non-issue. “It’s funny, but I just didn’t have that same mentality [about turning 40],” she said. “I felt like I should, if only because everyone talks about it. I think men get talked about in a slightly different way—their age means something different. They’re somehow liberated when they’re in their forties, whereas women are meant to be sort of fixing themselves up and trying to stave off the inevitable.”
That wasn’t the case for Blanchett, who found herself unfazed upon hitting the big 4-0. “When I reached 40, I was actually sort of relieved and excited,” she said. “You approach it with such a sense of fear because it’s built up to such a degree, but it wasn’t as bad as I thought it would be. We’re so full of fear, but these situations are often the opposite of what we expect.”
While it might be tricky to predict how she’ll feel on special occasions, there’s one thing that Blanchett can expect: memorable gifts from her family. “During the first couple of years of our marriage, my husband gave me a vacuum cleaner and a blender on our anniversaries,” she said. “I think he was trying to give me a few hints about being a bit more active in our domestic life.” Other than appliances, the presents that really rate with Blanchett inherently pack a special meaning. “In the end, I love the things that people—especially my children—have made,” she said. “They make things out of matchsticks, and my middle child once made a clay skull that he had drawn a bit like the Day of the Dead. It’s the handmade things that I really love.”
And, unsurprisingly, it’s family time that ranks highest on her list of favorite activities. When she’s not busy performing, Blanchett relishes relaxing with her kids at home—in one spot, specifically. “I’m growing to love my bed more than any other item of furniture in the house,” she said. “The best thing is when all four of the kids and my husband and I are just sitting there. I think we probably have our best conversations as a family in our bed. Thank god it’s enormous.”
Of course, there are a few culturally-relevant books taking up space on her nightstand at the moment. “I’m reading Behold the Dreamers by Imbolo Mbue, which is about an immigrant family living in America,” said Blanchett. “And then the other book I have is Hillbilly Elegy by J.D. Vance, which is about the disconnect between the white working class and the sort of perceived privileged classes,” said Blanchett. “So it’s a book for both Democrats and Republicans. It’s about the state of the nation, really, and how America has got to where it is.” Topical, indeed.
Hello to you all! Cate Blanchett and Richard Roxburgh promote The Present at the Leonard Leopate Show. You can hear the interview below.
Good afternoon, yesterday Cate went to Live with Kelly to promote The Present. Video and screencaptures below, enjoy!
There is a new interview with Richard Roxburgh for The New York Times. He’s starring opposite Cate Blanchett in The Present, currently on Broadway, and two new stills were released with this interview. Enjoy!
New interviews and videos about The Present!
1) The Present on Broadway – Official Facebook
3) New Promo
4) Studio 10
— Studio 10 (@Studio10au) January 11, 2017
Hi everyone! Cate has been interviewed during the opening night of The Present on Broadway. Enjoy some videos!
Last Sunday, Cate Blanchett made her Broadway debut in The Present, a Sydney Theatre Company production. After the official opening night of the play, new material became available such as new stills, reviews and the program. Enjoy!
Check the list of reviews created by The Playbill
The Theater Mania website has revealed two new stills of The Present. We’ve also update the gallery with new photos. Enjoy the updates and the article from Theater Mania!
The Sydney Theatre Company’s Broadway production of Andrew Upton’s The Present, starring Cate Blanchett and Richard Roxburgh, has released a pair of production photos. The work runs at the Ethel Barrymore Theater and opens January 8.
Blanchett heads the cast as Anna Petrovna, alongside Roxburgh (Moulin Rouge) as Platonov. They are joined by the original Australian company, made up of Anna Bamford (Maria), Andrew Buchanan (Osip), David Downer (Yegor), Eamon Farren (Kirrill), Martin Jacobs (Alexei), Brandon McClelland (Dimitri), Jacqueline McKenzie (Sophia), Marshall Napier (Ivan), Susan Prior (Sasha), Chris Ryan (Sergei), and Toby Schmitz (Nikolai). Everyone in the cast will make their Broadway debuts.
Directed by John Crowley (Brooklyn), the production had its world premiere in 2015. Inspired by Anton Chekhov’s Platonov, Upton’s adaptation is set in the mid-1990s in an old country house where friends gather to celebrate the birthday of Anna Petrovna, an independent but compromised widow. At the center is the acerbic and witty Platonov, along with his wife, his former students, and their friends and partners. Boiling away inside their comfortable appearances is a mess of unfinished, unresolved relationships, fueled by 20 years of denial, regret, and thwarted desire.
The production features scenic and costume design by Alice Babidge, lighting design by Nick Schlieper, and sound design and musical compositions by Stefan Gregory.
John Crowley, director of The Present, shares his experience with The Observer. You can read some passages about Cate Blanchett below. Enjoy!
From the cast’s perspective, The Present might also mean the Broadway debuts that all 13 Australian actors are making on Crowley’s watch. This is his second time around with the play. “We did it in Sydney last August for a regular seven-week run. This time around, we had a week’s re-rehearsal and a week’s tech. Re-rehearsing this show with the exact same cast is a challenge because, of course, what worked originally could have gotten calcified from repetition over a seven-week run.”
Compared to the kind of classics Blanchett usually travels in, her husband’s rewrite of Chekhov is almost an untested new play and, thus, a surprising choice with which to charge Broadway. “I don’t know if Cate chose to make her Broadway debut with it or if it was a happy coincidence of events,” says Crowley. “We’d talked about doing something together for years, and when it came together, they invited producer Stuart Thompson to see it. He was keen to bring something from the Sydney Theater Company over and had tried to do it a few times, but the timing was never right.”
The problem has always been carving out enough stage time from Blanchett’s tightly packed film schedule, which now numbers 65 screen credits since 1993.
Liveness, which spell check still stubbornly refuses to accept as a word, is the main word that Crowley uses for what Blanchett brings to the stage and any co-star in her immediate vicinity. “The way we rehearsed it is to try and create the feeling among the ensemble of being alive to every moment,” he explains. “Cate just flies with this.”
When Crowley first started working with her in Sydney, he was surprised at her playfulness. “Some actors—especially actors who do film—have to focus on where they want to get the moment right. Cate wants to open that moment up and know what the parameters are. There will be times when something will go against the story, so you have a conversation and say, ‘If you do that, then that’s going to read as blah blah blah,’ and she’ll instantly rethink it or nix it. The emphasis and the degree of liveness are what she’s after—whether it’s rehearsing or performing on stage.
“Cate likes stress-testing moments in the play to see what they’re made of and how they’ll break. If she goes too far with it, she’ll pull back on it. She’s not somebody who likes to sit around, discussing things endlessly. She’s happier working on the floor, figuring out with another actor what the moment is about. Some actors really do have a more academic approach. Not Cate. She’s fantastically bright, but it’s allied to an instinct for playful acrobatics. You just need to give her enough rope to play with in scenes rather than too tight a space. She’ll rupture—with Richard Roxburgh, in particular, because he has very different energy as an actor. There’s more of a stillness there, and he in lots of ways is the anchor to her higher-acrobatic instincts.”
Blanchett and Roxburgh practically qualify as The Lunts of Australia, having acted together for 21 years, starting out as Ophelia and Hamlet. After years of stage-teaming, their kinetic sensuality hasn’t diminished. They can still fling sparks.
“When they go out in those big emotional scenes every night,” says Crowley, “there may be subtle variations on differences and emphases, but they wind up in the same place emotionally. That’s because they are comfortable with each other. I’ve never seen one of them make a choice in a moment than the other one felt, ‘Oh, God! That’s hard for me!’ They almost egg each other on, making each other better as actors.”