Conrad Ricamora stars in David Henry Hwang’s ‘Soft Power’ – INQUIRER.net USA

Honoring

“Soft Power” is produced by Center Theatre Group in association with East West Players (EWP).

On April 30, EWP will hold its 52nd anniversary Visionary Awards dinner and silent auction to recognize “the achievements of individuals who have raised the visibility of the Asian Pacific American community through their craft.”

Filipino American actor Jon Jon Briones is included in this year’s group of Visionary Award honorees.

Briones joined the original London cast of “Miss Saigon” in 1989 and went on to play the role of the Engineer in several countries, including the recent 2014 London revival and 2017–18 Broadway revival.

Credits with EWP include “La Cage Aux Folles” and “A Little Night Music.” Recent television credits include playing Modesto Cunanan, the father of Andrew Cunanan, the murderer of fashion designer Gianni Versace in “American Crime Story: Assassination of Gianni Versace.”

Conrad Ricamora stars in David Henry Hwang’s ‘Soft Power’ – INQUIRER.net USA


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Guest: Los Angeles Television composer Mac Quale (Mr Robot) | 27 April 2018

The Best-Dressed Men Of The Week

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Who: Darren Criss

Where: Lorraine Show, London

Going from starring on the show Glee to playing a serial killer in true crime drama The Assassination of Gianni Versace is a bold step to say the least. But while actor Darren Criss might be taking risks in his career, style-wise this is a steady look (long-sleeved polo, slim black jeans, Chelsea boots). Then there’s the V-shaped stripe emblazoned across his chest – you don’t want to play it too safe, after all.

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The Best-Dressed Men Of The Week

‘It’s time for a blanket ban on naming pathetic, deluded sick killers’

I’ve just finished watching a series on the BBC which had the most misleading title since Bobby Davro: Rock With Laughter.

Just as mirth failed to rock anyone within wincing distance of Bobby’s show, so The Assassination of Gianni Versace had little to do with the murdered fashion designer.

It was basically a nine-hour glamorisation of his murderer, serial killer Andrew Cunanan .

The sad, not good-looking, attention-seeking, blood-lusting misfit was played by Darren Criss, the handsome, talented, empathetic star of the hit TV show Glee.

The Versace series effectively endowed star status on a man who brutally took five lives. It elevated a non-entity from being the killer of a celebrity to a celebrity killer.

If Cunanan, an extreme narcissist whose only aim in life was achieving fame, had watched this series he’d have been living out his ultimate wet dream.

Which is why I had this uneasy feeling throughout.

That in some bedsit, another inadequate saddo who couldn’t find a job or form a relationship and blamed his plight on a big, bad world that didn’t understand him, was seeing his own story unfold.

And when it came to the scene, after Versace’s murder, where Cunanan dances around a room howling with delight and swigging champagne as his face appears on every US TV news channel, that bedsit saddo’s mind was made up – it was his destiny to copy Cunanan by forcing the world to give him the recognition he was currently denied.

Then, on Monday, a van was driven onto a Toronto pavement claiming 10 lives , and the man accused of the murders, Alek Minassian, had his smiling face plastered all over our TV screens, as friends described him as a loner who struggled to hold down a relationship.

He’d been inspired, not by Cunanan, but by another misfit who’d achieved fame through a murder spree. Minassian belongs to an online group called Incel, which stands for Involuntary Celibate, a mysogynistic rabble who believe they’re being unfairly denied love and validation by women because they’re unattractive or socially awkward.

And who pledge violence as revenge.

In what is alleged to have been Minassian’s last Facebook post he paid tribute to the group’s hero, woman-hater Elliot Rodger, who had killed six people in a gun rampage near the University of California on his “day of retribution” in 2014.

Who knows, maybe the fame being showered on Minassian is now inspiring a similarly inadequate loser to follow in his path. And on it goes.

As we approach the anniversary of the Manchester terror attack, when 22 innocents were murdered, I only want to hear words about those lovely young people still deeply mourned by their shattered families.

I don’t want to see the face of their killer. I wish we’d never heard his name.

Indeed I wish the world’s major TV and publishing organisations would agree, for an experimental period, to a blanket ban on naming all terrorists, serial killers and mass-murderers.

Referring to them as Just Another Pathetic Non-Entity.

With the internet, it’s impossible for the names not to come out. But a global mass media ban would mean their faces weren’t plastered all over TV screens, their back stories weren’t told in papers, and all focus instead would be on the victims whose lives were stolen in their bid for recognition.

Because if it stopped even one deluded narcissist from killing due to there being no mass fame on offer, the experiment would have been worth it.

And might be made permanent.

‘It’s time for a blanket ban on naming pathetic, deluded sick killers’

Television Review – The Assassination of Gianni Versace: American Crime Story

The second season of television super-producer Ryan Murphy’s social-politics-minded true crime anthology series is neither as spectacularly star-studded or thematically wide-ranging as the first season, the Emmy-winning The People vs. O.J. Simpson. But The Assassination of Gianni Versace, written entirely by Tom Rob Smith (Maggie Cohn has a co-writer credit on the penultimate episode) with a premiere episode directed by Murphy, is a more focused and reflectively dichotomous work. Becoming ever-more intensely about the fascinatingly troubled young man who killed the famed Italian fashion designer in Miami in 1997 (and at least four other men as well), this American Crime Story is an absorbing, shocking, and nuanced meditation on the social and psychological costs of closeted homosexuality and the nature of capitalist success, on the image we wear like a mask and project to the world and the true, less presentable self that we can never really disguise.

The Assassination of Gianni Versace opens with its titular murder and tracks back to explore the path that led killer Andrew Cunanan (played by Darren Criss, in the season’s star-turn standout performance) to take the life of Versace (Édgar Ramírez), It also considers key moments in that life (often employed as sharply mirroring contrasts to Cunanan’s degenerating life and choices), as well as the grief-stricken tug-of-war over his memory and legacy after his death between his sister and design partner Donatella (Penélope Cruz) and his lover and life partner Antonio D’Amico (Ricky Martin; yes, that Ricky Martin, and he’s good, too). For a viewer unfamiliar with the details of Versace’s life and of the background of his killer, the narrative is full of surprises and revelations, illustrating details and remarkable visual metaphors. It will also work quite hard in its lesser moments to make you care about and believe in fashion design as a vibrant and meaningful art form. Unless you’re already of such a mind, you will leave unconvinced.

But after an establishing episode or two (the manhunt for Versace’s killer is teased in the opening episode and then deferred until the closing hour), the show really becomes The Disturbing Adventures of Andrew Cunanan. The central serial killer is a charming and fairly open homosexual, a sociopathic, self-aggrandizing pathological liar, and given more defined psychological contours as his narrative arc fills in innovatively backwards. He is forever making ambitious plans that he does not work hard enough to achieve, lavishly spending money he has not earned, seeking to impress others with fancifully exaggerated tales about his connections to wealth and fame, and bouncing between secretly-gay wealthy sugar daddies and potential younger paramours. A cossetted golden child of his Fillipino father (Jon Jon Briones), who flees the United States ahead of federal charges of embezzlement and leaves his abused wife (Joanna P. Adler) and the spoiled Andrew to fend for themselves, Andrew runs in gay community circles in his native San Diego and San Francisco, eventually drifts towards drug abuse and prostitution, and is exposed and rejected by several friends and lovers in quick succession, triggering the murder spree that ends with Versace.

Cunanan’s fractured, manipulative, sociopathic psyche is repeatedly contrasted with the varied group of gay men whom he meets, befriends, and, in many cases, kills, through whom The Assassination of Gianni Versace provides a notably multifaceted view of the experience of being gay in America in the still-unaccepting 1990s. Versace himself came out publically in an interview with The Advocate in 1995, despite the concerns of his sister; after his death, the deep grief of his partner D’Amico (Martin himself came out a few years ago, at age 39) is exacerbated by being denied any acknowledgement of their relationship or compensation for the loss by the Versace family and business, a common experience for same-sex partners without legal union rights.

Cunanan’s other lovers, acquaintances, and victims reflect other facets of the homosexual experience: Lee Miglin (Mike Farrell) is a Chicago real estate developer with a public marriage to infomercial perfume hawker Marilyn Miglin (a formidable Judith Light) and private secrets; Norman Blachford (Michael Nouri) is another wealthy older man who takes on Cunanan as a live-in lover/style consultant/assistant, but sees more readily through his web of lies; David Madson (Cody Fern) is a small-town Midwesterner who comes out to his traditionally conservative father in a scene that doesn’t entirely follow any predictable script; and the perspective of Jeff Trail (Finn Wittrock), a closeted Navy officer, provides a sharply political commentary on homophobia in the U.S. military and the contemporaneous bureaucratic injustice of “Don’t Ask, Don’t Tell” (which was only actually suspended in 2011).

But Andrew Cunanan himself, as characterized in Criss’s tremendous performance, is the key carrier of The Assassination of Gianni Versace‘s thematic meanings concerning the fraught performativity of identity in American capitalism. Andrew is not closeted like most of those other gay men, but he is nonetheless hiding his true self and projecting a falsified, grandiose image for the world. His father taught him to perform success at all times, even if it actually eludes him. Once he begins killing, Cunanan of course hides his murderous, monstrous nature from the world to remain at large. But he is always wearing a mask even before that, playing the role of a charming, worldly, confidently interesting young man with illustrious connections and swaths of wealth and privilege when the real Andrew Cunanan, at his core, is financially precarious, increasingly desperate, and inherently insecure, forever seeking love from others but cripplingly incapable of feeling it in return. Like all confidence men, there is a confidence-shaped hole at his centre.

Ever in contrast to the daring, visionary designer Gianni Versace, who poured his sensibility into his clothing, Andrew Cunanan dons outfits with handsome swagger but never can inhabit them, never seems at home in his own skin. The Assassination of Gianni Versace‘s brilliant leap is to delve more deeply and even encourage a perverse identification with the serial killer Cunanan rather than its titular figure, and to suggest that his obsession with surface appearance and his related disconnect from the truths of his own existence constitutes a typically American quagmire of identity formation, reflecting the dilemmas of our own time as well as of those of 20 years ago.

Television Review – The Assassination of Gianni Versace: American Crime Story

SNL’s “Weekend Update” Anchors Michael Che and Colin Jost to Host 2018 Emmys

It’s hard to predict this early who and what will receive nominations, but it strikes us as likely The Crown, Westworld, This Is Us and The Handmaid’s Tale will be among that number. Keep an eye out for Laura Dern’s performance in The Tale, in particular, to nab a nomination. In a perfect world, we’d love to see Darren Criss from The Assassination of Gianni Versace: American Crime Story snag a nomination, as well, but only time will tell.

SNL’s “Weekend Update” Anchors Michael Che and Colin Jost to Host 2018 Emmys