It’s been nearly four weeks since the Public Theater’s production of Shakespeare’s “Julius Caesar” began performances in Central Park. Its debut was scheduled — and announced — back in the fall. Yet it was only this weekend, most notably after Fox News reported, “A New York City play appears to depict President Trump being brutally stabbed to death by women and minorities” that some corporate sponsors decided their “values” had been offended and withdrew their support for Shakespeare in the Park. Because when you think of integrity, the first words that leap to mind are Delta and Bank of America, right?The chyron on Fox News this weekend boldly announced that “Shakespeare in the Park depicts president’s murder.” Interesting fact: William Shakespeare actually wrote “Julius Caesar” about a Roman politician who lived a few years before the founding of the United States of America. It’s true that this production borrows staging elements from current events. Writing in The New York Times on June 9, critic Jesse Green noted “its depiction of a petulant, blondish Caesar in a blue suit, complete with gold bathtub and a pouty Slavic wife,” while also stating, “Even a cursory reading of the play, the kind that many American teenagers give it in high school, is enough to show that it does not advocate assassination. Shakespeare portrays the killing of Caesar by seven of his fellow senators as an unmitigated disaster for Rome, no matter how patriotic the intentions.” Here’s a spoiler, for the uninitiated: The politically motivated violence doesn’t work out well. As the Public’s artistic director Oskar Eustis said in a note on the production, “Julius Caesar can be read as a warning parable to those who try to fight for democracy by undemocratic means.”
Before Montauk, N.Y., became known for a swell of Wall Street titans and young twentysomethings who spend their weekends at clubby establishments like The Surf Lodge and Sloppy Tuna, the small fisherman’s village was an enclave for well-heeled creative types. In the Twenties, developer Carl Fisher built a yacht club that attracted a WASP-y crowd, including the Astors and Vanderbilts, and in the late Seventies, Andy Warhol imparted his artistic flair to the beach community, inviting Mick Jagger and Lee Radziwill to stay at his waterfront home.Now, one boutique hotel aims to create a beachside destination that takes guests back to Montauk’s original roots.“Montauk has always had this incredible lively vibe,” says Jon Krasner, cofounder of Hero Beach Club, which opens June 8, from a corner booth at New York’s Soho House. “Carl Fisher was trying to create the Miami Beach of the north. That was his original vision until the Great Depression happened and Montauk stopped its development. Over the past decade or so, the town has gone from a casual surfer scene to a more international atmosphere.”Fisher’s dream of transforming Montauk into a family vacation spot may finally be realized with the opening of Hero Beach Club, a 31-room hotel thatpromotes healthy living and relaxation through activities, such as surfing and hiking, and amenities, which include a public garden and pool, spread with hammocks and cabanas.Hero Beach ClubLucas Flores Piran“People who come out here for a vacation just want to relax,” says Krasner’s partner Ted Wasserman. “If you want to go surfing, we have access to the best instructors on the beach. If you would like to horseback ride, bike or fish, we can connect you to those experiences. But if you are looking for a real rowdy party, there are other spots in Montauk for that kind of setting.”Apart from Hero Beach Club’s family-friendly services, the design of the Fiftiesstructure truly adds to its tranquility. Designers Anna Cappelen and Chloe Pollack-Robbins of the studio Curious Yellow elevated the space with modern fixtures and furnishings that were mostly handcrafted in Bali, adding teak lounge chairs outdoors and custom teak beds in the soundproofed bedrooms that are outfitted with Nell Diamond’s — Wasserman’s wife — Hill House Home Supima cotton linens.“You’re not going to be able to come into one of these spaces and recognize a piece of furniture from Restoration Hardware,” Pollack-Robbins says. “It’s unique to Bali and our Scandinavian aesthetic.”The design duo’s recent trip to Ibiza also played a role in shaping the hotel’s laid-back aesthetic. “There are big day beds everywhere, where people are just hanging out and relaxing poolside. Kids are up late with their parents, everyone has huge dinners on these long farm tables, and you just eat and drink all day,” Cappelensays.But Pollack-Robbins is quick to point out that Europeans don’t treat day drinking the same way we do in the States. “It’s a very comfortable, family-oriented party atmosphere.”Umbrella Beach near Hero Beach ClubLucas Flores PiranIn addition to soaking up the sun behind the hotel’s windswept, land-preserved dunes, guests can satisfy their nostalgia for Warhol’s SeventiesMontauk by spending time in the lobby that doubles as an art showcase. New York-based art advisory Fiore Brown Art Group chose a mix of contemporary objects, sculptures and photography — largely inspired by Montauk’s culture — from local and international artists alike, including eccentric sculptural vases by Italian artist Gaetano Pesce.“Montauk has an incredible local art scene, but we felt like they needed more of a platform to gain access to the community and beyond,” Krasner says.Montauk’s true beauty is found in the sand and water, and Hero Beach Club has an ideal perch on Umbrella Beach, where Krasner and Wasserman intend to have guests and artists intermingle through bonfires and barbecues. “We want to be a gateway to Montauk and all it has to offer,” Wasserman says. “We are putting new packaging on something that has always been there.”Hero Beach Club626 Montauk Highway, Montauk, N.Y.631-668-9825You're missing something!
Nineteen West 31st Street is coming back to life again: This week, the building, formerly the home of Life magazine before it was acquired by Time Inc. in the Thirties, opens as the newly launched Life Hotel. Art curators Stephen Hanson, formerly of hospitality group BR Guest, and David Mitchell join designer Tara Oxley in crafting a one-of-a-kind art program for the hotel, designed to reflect the spirit of the magazine, which was produced in the space starting in 1894.“The magazine was uniquely modern in that all the artists and writers lived upstairs and they produced the magazine downstairs,” says Mitchell. “The whole concept of ‘we work, we live’ was very present. People like Norman Rockwell all lived in this building and made this magazine, which was very edgy and current when it came out.”The building was designed by architecture firm Carrère & Hastings, which also did the New York Public Library, and left somewhat of a treasure hunt for Hanson, Mitchell and Oxley. “We found remains of a speakeasy and restored that,” Mitchell says. “We brought forth a lot of those concepts that were modern in 1894 and gave a 2017 spin to it. Our guest is a guest who really respects soul and authenticity.”“Gene Pressman, the fellow who used to own Barneys, curated this whole art program for us at the James Hotel in Chicago,” Hanson explains. “And I think we were one of the first hotels to really develop an art program. I saw the success from the consumer, the guest and the community, about how important that art program was.”The communal aspect —local artists on display for both visitors and the community —is their way of paying respects to the legacy of the magazine.“We really wanted to embrace that and have a showplace for these artists, as Life magazine was a showplace for these artists and writers to display their artistic values,” Hanson says. Each guest room features two original pieces, and the corridors are lined with photographs by Australian artist Steven Laxton. “They depict his experience in El Salvador in a traveling circus,” Oxley says. “Something that draws you in and takes you places.”Brooklyn-based art quad Julian Rapp, Joseph Meloy, Michael Serafino, and Ari Lankin were commissioned to create pieces for the rooms, and Lena Fotiadis was tasked with hand-drawing various “life lessons” from literature, using a Krink marker, for the space above the beds. “Maybe it’ll resonate with you, maybe it’ll piss you off, but all of it is supposed to be thought provoking,” Oxley says. “When David, Steve and I were walking through the hotel rooms, each room is different; each room has its own soul and spirit, so the idea of doing a traditional program where you just kind of select a few artists and repeat wasn’t something that we were interested in,” she continues. The trio stressed the new take on the famed building is meant to be approachable, youthful and affordable — “three-star pricing with four star delivery,” Mitchell says.“When you play with that word ‘life’” he continues, “this is that life that you want to lead.”You're missing something!
“That’s me flying from a crane in a bird costume,” says artist Laura Kimpton, pointing out the three videos installed inside her monument sculpture at HG Contemporary. “The video guy just took the wire out. And that’s my 30 by 60 foot ‘Ego’ at Burning Man, made of 10,000 trophies. And then down below is a burning house, and I’m flying out of the burning house.”The artist’s latest solo show, “If Words Could Speak,” recently opened at Philippe Hoerle-Guggenheim’s gallery located in Manhattan’s Chelsea art district. The daughter of hotelier William Kimpton (her sister is the novelist Jennifer Egan), she defines herself as a teacher, and has spent her life traveling and living as an artist. Kimpton has carved a unique space for herself within the art world, parlaying her popular word installation art at Burning Man into the more formal gallery space. “I’m the most well-known artist at Burning Man, and that takes a lot of work to get that,” she says.“I’m not an artist because I make product, I am an artist because I am an artist. Just how I live.”Although she’s known mostly for her giant word sculptures, including a rainbow metal “Love” perforated with the outline of birds on display in the gallery’s entrance. (A red version has been shown at The Jimmy Hotel in SoHo as well as The Venetian in Las Vegas).“I have a lot of birds in my work, because — one, it represented my dad when he died, birds followed me,” she explains. “And then also, if I had to pick a superior animal, I would pick a bird because they fly and are in balance with nature, and treat their young with respect.” Other jumbo word sculptures she’s built in the Nevada desert include “Dream,” “Believe,” “Live Dream Be OK,” and “Ego,” which she has destroyed by fire and, for the gallery show on opening night, knocked down with hammers. Overall, it’s a very Burning Man-esque spread. “People love the O — they sleep in the O, they love the O,” she adds of the letter’s popularity, which appears in many of her words, at the annual desert gathering.Inside the show opening.Her show at HG Contemporary also includes several wall-mounted works constructed of “junk” — she identifies as an assemblage artist and compares her work to Robert Rauschenberg. “There hasn’t been a new junk-artist that’s made it in a long time,” she says. “This piece — you don’t know which piece might have cost me $4,000, $2,000 dollars,” she explains of “Dirty Girl Carnival.”Upon inspecting the piece, she noticed that a piece of it had gone missing. “Someone took it — wow. I put my monkey in the shooting range,” she says, pointing out the space where mini-monkey figurine had formerly stood to Hoerle-Guggenheim. “It’s OK. I’m not saying sometimes I’m not a little bit of a klepto myself,” she adds. “I lose a lot of stuff. I believe it goes into the world and has a life. One thing that Burning Man taught me is that art is sacred, but it’s not sacred, it can be destroyed. It’s about the process — I’m a process-oriented artist.”“Dirty Girl Carnival” (2015)Another artwork on display involves bills oriented into the stripes of an American flag. “I made this piece because I love that our money says ‘In God we Trust,’ because we’re supposed to be a nonreligious secular country,” she says. “People always put, because of my last name, that I’m extremely wealthy, so I just gave away all of those million dollar bills,” she continues, quickly adding that the bills are in fact fake. “It’s a joke on that.”Kimpton’s work has a definite political bent, and soon enough her art may make its way to the capital of American politics.“The Smithsonian is doing an [exhibit] on Burning Man, and they asked me to do a piece on the Mall,” she says. “I want to do ‘Be Kind.’ That would be the most important thing during this presidency. They want magic, but I won’t do magic during this presidency…magic is not the word right now. It has to be ‘Be Kind.’”Kimpton and Hoerle-Guggenheim, although at first glance an odd pairing —Kimpton exhibits a free wheeling hippie-vibe, while Hoerle-Guggenheim plays the suited gallerist trope — one could chalk their meeting up to kismet. Kimpton explains that they met at a small, intimate Oscars party a year ago.“It was an after party, but I think it was the Vanity Fair party,” Hoerle-Guggenheim clarifies. They ran into each other again shortly after, and, hitting it off, teamed up to produce a gallery show. However despite all of his recent proximity to Burning Man culture, Hoerle-Guggenheim hasn’t yet made it out to Black Rock Desert himself.“That’s actually the irony,” he admits. “But I do like theoretically everything about it.”“If Words Could Speak” is on view through May 26.Kimpton and Hoerle-Guggenheim.More From WWD.com:Becky Suss Talks ‘Homemaker’ Show at Jack Shainman GalleryCallum Innes Mounts With CurveAudemars Piguet Uproots Sculpture by Artist Sebastian Errazuriz for Art BaselYou're missing something!
In between touring the world for “Lemonade” and announcing her pregnancy (with twins, in case you’ve somehow missed that), rumor isBeyoncé’s next move might be in the cards already.Variety is reporting that Queen Bey is the top choice to join the live-action reboot of Disney’s “The Lion King,” which was released in 1994. The remake comes on the heels of successful adaptations of Disney classics such as “Beauty and the Beast,” which brought in close to $90 million on it’s second weekend, and “The Jungle Book” from 2016.Beyoncé’s other film credits include 2002’s “Austin Powers in Goldmember,”the 2009 stalker-thriller“Obsessed,” the 2013 animated film “Epic,” and, most notedly, the 2006 Oscar-winning “Dreamgirls.”The live-action reboot has already cast Donald Glover to voice Simba, withdirector JonFavreau hoping Beyoncéwill voice Nala. Mufasa will be once again played by James Earl Jones, who originated the role in the 1994 version.The studio is reportedly willing to work aroundBeyoncé’s schedulegiven her change in general availability due to her pregnancy. Shewas set to perform at this year’s Coachella festival, but had to drop out; she will be replaced in Indio by Lady Gaga.I just can’t wait to be king. #Simba pic.twitter.com/wUYKixMBJI— Jon Favreau (@Jon_Favreau) February 18, 2017Looking forward to working with this legend. #Mufasa pic.twitter.com/1LszbWrcYT— Jon Favreau (@Jon_Favreau) February 18, 2017Related Links:2017 Grammy Awards: Peter Dundas Announces Launch of Namesake BrandBeyoncé’s Longtime Stylist Ty Hunter Talks Her Pregnancy AnnouncementBeyoncé Reveals Her Second Pregnancy by Way of a Stylish Photo ShootBeyhive Bummer: Beyoncé Has Reportedly Dropped out of CoachellaMarni Senofonte: From Norma Kamali’s Assistant to Beyoncé’s Head StylistYou're missing something!
Kylie Jenner isn’t over being on televisionjust yet. The 19-year-old has reportedly landed her own docuseries, a spin-off of “Keeping Up With the Kardashians” that’s aptly titled “Life of Kylie.”The eight-part series will followJenner as she balances her cosmetics business with her celebrity and spending time with her family and friends, including Jordyn Woods. It is slated to premiere this summer and will be produced by Bunim/Murray Productions and Ryan Seacrest Productions.“The last couple years have been such an incredible journey with the support of my fans,” Jenner said in a statement. “This show will allow me to give them a peek inside all of the exciting things I am working on as well as some personal time with friends.”“Kylie’s beauty, business savvyand fashion icon status have made her one of the most famous and successful young woman on the planet,” said Jeff Olde, executive vice president of programming and developmentat E!, in a statement. “Kylie has achieved so much at such a young age and we know the E!audience will be thrilled now that she is ready to share an inside look at her everyday life.”It’s unclear just how much more of her everyday life Jenner will share, as she’s already highly active on social media. She currently has over 90 million followers on Instagram.It’s also unclear if or how “Life of Kylie” will affect Jenner’s role on “Keeping Up With the Kardashians.” Can viewers expect more overlap between the two shows or none at all? And more pressing, will Jenner’s sister, Kendall, finally open up about the Pepsi debacle?Judging from the title of Jenner’s show, probably not. Still, the question remains. harmonyA post shared by Kylie (@kyliejenner) on Mar 13, 2017 at 5:43pm PDTMore from WWD.com:Kendall Jenner Opens up About Pepsi CampaignPepsi Pulls Controversial Kendall Jenner AdKanye West Waits for No One — Not Even KylieWWD Law Review: Puma and Fenty and Kylie and KyleeYou're missing something!
It’s been a quiet few months on the Taylor Swift dating front, but folks, we are back in action. After six months in paparazzi hiding, rumors have surfaced that the pop princess has taken up with budding British actor Joe Alwyn. Given the influx of paparazzi photos we are surely going to be seeing once they make their public debut, it’s our civic duty to delve into the real heart of the matter here: will their style game match up?Alwyn’s career is certainly on the up-and-up. The 26-year-old London native broke out in last year’s Ang Lee film “Billy Lynn’s Long Halftime Walk,” alongside Kristen Stewart, Steve Martin, Vin Diesel and Chris Tucker. His second acting credit was “The Sense of an Ending,” based on the novel by Julian Barnes, with Charlotte Rampling, Michelle Dockery and Matthew Goode; he’ll next be seen in “The Favourite” with Emma Stone, whois believed to have played matchmaker between Alwyn and Swift.So yes, he’s early in his career. And stylistically, it shows. He’s got the good looks and boyish charm to become a major movie star —and best-dressed list topper —but he’s just not there yet. Learning to belt his suit pants and opt for more traditionally British cuts will go a long way.Swift, meanwhile, has never been a fashion girl. Recent months have seen her rebelling against her sugary-sweet cat lady look for dark lipstick, vampy dresses and Nineties chokers.Given her penchant fortest-running a new look depending on her love life, we’re expecting a hairstyle update at the very least this summer.One plus for the young couple is that Alwyn might already have the BFF—and fashion friend —stamp of approval. He appeared in a Vogue campaign for the September 2016 issue alongside Swift pal Gigi Hadid.So is it going to be forever? Or will it go down in flames? Time —and song lyrics —will tell.You're missing something!
It was the splash seen ’round the world.Wearing a ruffled white tutu and body-hugging pink tank top, Sarah Jessica Parker pirouetted into television history as a puddle struckherinthe 1998 opening credits of “Sex and the City.” But that look almost never happened.“[Series creator] Darren Star wasn’t convinced about the tutu and he asked us to have some options,” explained the show’s costume designer Patricia Field. “It was about convincing Darren that in years to come — if the show was a hit — it will be original and not something from a particular season.”Being that SJP is also trained in ballet, the look was a natural fit for the lithe actress. “She’s drawn to ballet references and I knew that,” continued Field.On Friday, Parker posted to Instagram an alternate opening sequence in which her Carrie Bradshaw character is wearing a previously unseen periwinkle blue dress option as she strolls along a Manhattan street. “A really nice memory,” wrote the mother of three alongside the raw footage.“I can’t recall who made that blue dress but it was a small designer — not a famous designer,” added Field. “My position was that the tutu was classic and very compatible with Sarah Jessica.” Lost footage. The alternate and never used title sequence from "SATC" A really nice memory. X, SJA post shared by SJP (@sarahjessicaparker) on Mar 31, 2017 at 5:46am PDTYou're missing something!
In short: no.When the news of Jennifer Lopez and Alex Rodriguez’s — J-Rod or A-Lo, take your pick— budding romance began to circulate, the Internet raised a collective eyebrow. At first glance, it makes sense — both are parents to two young children, and both recently broke off other high-profile relationships. J.Lo was rumored to be dating Drake at the end of 2016 and into early 2017, while A-Rod recently ended things with Silicon Valley executive Anne Wojcicki, who was formerly the wife of Google cofounder Sergey Brin.But on to more important matters — by which we obviously mean their style compatibility. Let’s take a closer look at the style tendencies of each for clues to their long-term compatibility.J.Lo clearly outshines her new arm candy, but maybe the sporty Casanova is just what she needs to stay grounded. The real test will be when the new couple step out on the red carpet together for the first time. Will A-Rod be able to upgrade his “Men in Black” suiting tendencies to match his showstopping diva girlfriend, who’s been hot on the press trail for her NBC show “Shade of Blue”? Only time — and paparazzi pics — will tell.At least Rodriguez lacks Drake’s affectation for turtleneck sweaters which, let’s be honest, was what most likely unraveled that romance.See More From WWD.com:Jennifer Lopez Blasts Paparazzi After Photo Goes ViralCara Delevingne, Budding Author?The Return of Leighton MeesterEmma Watson Wanted Her ‘Beauty and the Beast’ Costumes to Reflect a Modern BelleDemi Lovato, Mariah Carey Attend Nickelodeon Kid’s Choice AwardsSecrets of Christopher Kane’s Vintage Wardrobe Good Morning #ShadesOfBlue Press Continues Glam by @hungvanngo @lorenzomartinjr @robzangardi @enamelleA post shared by Jennifer Lopez (@jlo) on Mar 2, 2017 at 5:39am PST Autograph anyone?A post shared by Alex Rodriguez (@arod) on Mar 3, 2017 at 10:46am PSTYou're missing something!
Last month, the Metropolitan Opera celebrated 50 years in the current opera house at Lincoln Center — meaning there have been 50 season-opening galas each fall, drawing New York’s most glamorous socialites to today’s pool of celebrities. “The Met was founded in 1883, and the original opera house was on Broadway and 39th Street,” explains Peter Clark, the archives director, who has been with the Met since 1981 and was until a year ago the press director. “In 1966, the Met moved to the opera house that we’re in now, at Lincoln Center — in fact, Lincoln Center was started because the Met was looking for a new opera house.” The Met Opera was not the first to open at Lincoln Center but, along with the Philharmonic, was one of the original core institutions. “The old opera house was a very elegant auditorium, known as the diamond horseshoe because it was diamond-shaped, like the current one is,” Clark says. “But the backstage was completely inadequate for putting on a large-scale opera. Over the years, opera productions became bigger and more complex, and the backstage facilities were just way too small.”“As early as 1908, the Met was thinking of moving,” Clark continues. “Just to give an idea of how inadequate the backstage was, at the old house every time they would move a set, there was just the area on the stage, there was no storage space in the wings or backstage. So they had to take the old set down, in the middle of the opera, roll it up, and put it on the sidewalk on Seventh avenue.” The move to Lincoln Center shifted the way the operas are produced. “It became possible to put on much more elaborate scenery,” Clark says. It also provided a setting for more grand costuming, which the Met keeps in its archives. Many of the most famous dresses that crossed the stage at the Met had to be purchased back by the archives office.“Most of the costumes in the archives came through the estates of the singers, who owned the dresses, instead of getting them through the Met,” Clark says. “The Met never owned the dresses.”Click through the gallery above for a look through the costume archives at the opera house, as well as a selection of photos from WWD’s archives through the 50 years of galas.Related Links:Presidential Debate Chatter at the Metropolitan Opera Opening Night GalaThe Metropolitan Opera’s ‘Otello’ Opening Night GalaYou're missing something!