Ingrid Bergman News

The third annual French Riviera Film Festival will present a special Lifetime Achievement Award to Oscar-winning actor George Chakiris and Industry Excellence Awards to Caroline Lagerfelt and Eric Roberts, at an exclusive ceremony on July 14 at the iconic Beverly Hills Hotel.

A hybrid of fiction and documentary filmmaking, MY MEXICAN BRETZEL, the feature film debut of  Nuria Giménez, uses silent home movies, fleeting snippets of sound, and diaristic narration to tell the story of Vivian Barrett, a wealthy Swiss woman, and her husband, Léon, a WWII pilot-turned-entrepreneur.

Through our Women in Theatre Through the Decades features, we will be highlighting the vital role that women have played in theatre history, showcasing those who paved the way and who continue to make history today. 

This week's Theater Stories features the Shubert Theatre! Learn about one of the longest running Broadway shows of all time, A Chorus Line, the incredibly successful production of To Kill a Mockingbird, the star-studded revival of Hello, Dolly! and more.

With a little help from her dads, Ava Nicole Frances is the most popular kid in town every Halloween.

The Theatre Podcast With Alan Seales presents Isabella Rossellini. An actress, filmmaker, model, and philanthropist all rolled into one, this multi-faceted, multi-talented performer may be the descendant of Hollywood royalty, but she has carved a path uniquely and evolutionarily her own.

Watch the new trailer for CAMERA THE MUSICAL OF INGRID BERGMAN.

The musical Camera is written by Jan-Erik Sääf (music and lyrics) and Staffan Aspegren (script, dialogue and direction). It had its world premiere at ?-stgötateatern 2018.

MRT will celebrate the commissioning of two of the country's most adventuresome playwrights, Trista Baldwin and Vichet Chum, with the launch of a new reading series, MRT's First Look. The series will kick off September 24 with a new adaptation of a classic, spinetingling thriller, Patrick Hamilton's Gaslight by Steven Dietz, according to Courtney Sale, the Nancy L. Donahue Artistic Director, and Bonnie J. Butkas, Executive Director.

An entertaining and thoroughly enjoyable evening.

Filmmaker Enrico Cerasuolo recounts the life of Anna Magnani, Italy’s great screen legend, who embodied the bare-faced, post-war honesty of Italian neo-realism and became a symbol of the city of Rome itself.

Today at the collation the director Staffan Aspengren announced that the show will go on as scheduled and open the 19th of September. The size of the audience will be in line with the recommendation size max 50 people. If there is a change in the recommendation it will be adapted to.

Arthur Laurents was best known for his work as librettist on Gypsy and West Side Story, but was also well known as a playwright, having won a Tony Award® for Hallelujah, Baby! in 1968. Later as a director, he was Tony-nominated for Gypsy in 1975 (and the 2008 revival) as well as the original 1984 La Cage Aux Folles.

BWW Reviewer Peter Nason chooses the 101 greatest scenes in cinema from 1901 to 2020. See if your favorite movie moments made the list!

She is at the top of her career. Hollywood and the whole world love her. Then Ingrid Bergman chooses to follow his heart - to a volcano in the Mediterranean. And hell breaks loose. In the fall of 2020, you have the chance to follow one of the greatest stars of our time, embodied by Åsa Fång, on a stormy journey to the bottom and up again. Via Italy, a passionate love story and in the brutal press.

One of just a handful of this style poster released to promote Universal's 1933 monster classic The Invisible Man may bring as much as $125,000 in Heritage Auctions' Movie Poster auction March 21-22. The sale is filled with first-time offerings ranging from stone litho masterpieces to early War and advertising posters.

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature Be More Chill in London, Hamilton in LA and More!

Three years after the National's enthralling revival of Tony Kushner's Angels in America, the playwright returns with his new adaptation of Friedrich Dürrenmatt's tragicomic 1956 parable a?' which has also been turned into an Ingrid Bergman-starring film and a Kander and Ebb musical.

Sundance Institute will gather 25 celebrated and revered expert voices across film, art, culture and science to award feature-length and short films shown at the 2020 Sundance Film Festival with 31 prizes, announced at a ceremony February 1. Short Film Awards will be announced at a separate ceremony on January 28. The Festival takes place January 23 through February 2 in Park City, Salt Lake City and Sundance, Utah.

The first clue that ANASTASIA was going to be different than what I expected was a note on the title page reading, “Inspired by the Twentieth Century Fox Motion Pictures.” Plural? A savvy journalist, I quickly asked Siri to bring up the imdb page for “Anastasia”. Turns out Fox made ANASTASIA twice, the 1997 animated off-brand Disney princess movie and a 1957 film that scored Ingrid Bergman's second Oscar and marked Helen Hayes' transition to the big screen. And it turns out the musical version has more in common with LES MISERABLES and RAGTIME than BEAUTY AND THE BEAST. Gone is the hell-wizard Rasputin, his talking fruit bat sidekick, and the singing demon caterpillars. At intermission, I asked my third grade niece, Adalyn, how she was liking it. “It's awesome…it's real people, like no Beast or anything. No animals.” We decide that Disney staged musicals are great but more it's more impressive when you can achieve the magic without a story that departs from reality. ANASTASIA is historical fiction hypothetical. It poses a “what if…?” that a daughter of the last czar of Russia (The Grand Duchess Anastasia Nikolaevna) escaped when the czar's family was executed in 1918. Rumors persisted for decades that Anastasia did, in fact, escape. In 2007, DNA testing confirmed the remains of all four Grand Duchesses were in the Imperial grave. In this version, Terrence McNalley's book follows Anastasia's rediscovery of her identity after surviving the attack on her family and sustaining some plot enabling amnesia. Renamed “Anya” she grows up and makes a life in post-Revolution Russia. Anastasia's grandmother, the Dowager Empress (in a staggeringly moving performance by Joy Franz) has fled to France and offered a cash reward for anyone escorting the rumored alive Anastasia to Paris. The wily duo Vlad (Edward Staudenmayer) and Dmitry (Jake Levy) pull a My Fair Lady style makeover on Anya to collect the Dowager's prize. They are pursued by Gleb (Jason Michael Evans). A Soviet officer drawn to Anya romantically but tasked with finding and eliminating the last Romanov. Anya's memory becomes somewhat coaxed back, but the Dowager has stopped seeing Anastasia claimants after too much heart-break from countless frauds. It sounds dark, but with high-tech digital scenery and inspired performances across the cast it is delightful. Stephen Flaherty (Music) and Lynn Ahrens (Lyrics), responsible for bringing us RAGTIME, ONCE ON THIS ISLAND, LUCKY STIFF, as well as the Oscar nominated songs carried over from the animated film. ANASTASIA is a perfect context for this pair. “Stay, I Pray You” (my favorite song of the evening) is evocative of RAGTIME's “New Music”. The two songs literally race my heart in a strangely specific way. My real test of a National Tour at Gammage is how fast I get the music playing in my car on the way home. At ANASTASIA I was already finding, “Stay, I Pray You” walking through the parking lot. The rest of the score is similarly haunting. Lila Coogan, as Anya/Anastasia, powers through the score with nuance, clarity, and passion. Tari Kelly, as Countess Lily, and Stadenmayer (Vlad) were Adalyn's favorite performances and I have to agree. This incredibly gifted pair take the “triple threat” designation (singer, dancer, actor) and go quadruple with the addition of flawless comic timing. The choreography by Peggy Hickey is masterful. It somehow combines inventive and traditional throughout and the ten-minute slice of “Swan Lake” infused into “Quartet at the Ballet” is the highlight of the second act. It's a fun-size version that gets an under-represented art form onto the plate. This kind of trope often means the plot putting the plot on hold. But here, it is the connective tissue between Anya, Dmitry, the Dowager, and Gleb as they each bring us up to speed heading into the show's climax. Ultimately, the show's success comes from applying a higher artistic standard to the “previously-animated-film-now-theatrically-staged” genre. It cashes in on the name draw of the 1997 film then gives the viewer something much more enriched than what they think they are coming to see.