Vocalist Norm Lewis in The New Classics at Lyric Opera of Chicago. (Photo by Kyle Flubacker)
he Lyric Opera of Chicago has come up with an amazing substitute for the large-scale musical it produces on its large-scale stage at the end of its operatic season.
Titled “the New Classics-Songs from the New Golden Age of Music Theater,” it is about a 70-minute-long mix of dramatic, sad, wistful and powerful show numbers that some listeners will know but others may not find familiar.
And instead of coming from the Lyric’s grand stage, the production was mostly recorded back stage in an intimate, former Civic Opera space.
Hosted by David Chase who also accompanies the singers along with members of the Lyric Orchestra, the program reintroduces some notable musical theater by notable composers.
Vocalist Gavin Creel opens the program with the obscure Stephen Sondheim “What More Do I Need” from Saturday Night followed by Nikkie Renée Daniels’ wistful rendering of the well-known “The Heather on the Hill” from Brigadoon. Norm Lewis then wows with “Stars” from Les Miserables.
Jenn Gambatese changes the mood with “Gimme Gimme” (Love) from Thoroughly Modern Millie and Heath Saunders offers a moving “Something Wonderful” from The King and I.
Jo Lampert puts the best interpretation I’ve heard on “Omar Sharif” from The Band’s Visit and Amanda Castro “flamingo” taps the way to the top of her building with “Raise the Roof” from The Wild Party.
Chase segues to historic references between numbers to the Civic Opera and more show tunes sung by the cast (introduced above) that also include “Love Changes Everything” “I Will Never Leave You,” “Dear Theodosia,” ”Way Back to Paradise,” “I’d Rather be Sailing,” “Popular,” “If Only” and “Rain.”
Guess which shows those songs came from or better yet, click on the production. It premiere this Thursday, June 10 at 7 p.m. CT on Lyric’s Facebook and YouTube channels. For more information visit The New Classics.
Tribeca Film Festival closing night is the world premiere of Dave Chappell’s documentary.(Photo courtesy of Tribecca Festival)
Certainly, the Covid pandemic dramatically changed the arts and entertainment world including that of film festivals. But it also taught us we could work from home and enjoy plays and movies on line at home.
Some popular film festivals have been postponed yet another year to 2022. However, the New York’s Tribecca Festival is going ahead with its culturally and politically focused films in hybrid – at home and in-person – mode, June 9-20, 2021.
The festival includes Talks such as from storytellers John Legend and Mike Jackson, Games, Comedy and Films.
In person films range from “In the Heights” to “Johnny Mnemonic.” See In the Boroughs.
A highlight is the premiere showing of Dave Chappelle’s Untitled Documentary. To see it in person at Radio City Music Hall June 19, you must be fully vaccinated. And have proof.
Tickets are available for in-person showings in NYC and the boroughs and for at home viewing. For ticket info visit tribecafilm.com/festival/tickets.
‘Master of the House’ from Les Miserables (photo courtesy TPS and Marston McCoy Media)
Stacey Flaster and Liz Fauntleroy, founders of Highwood, IL-based The Performer’s School, had their 40-member cast set for Les Miserables and 26-member cast for Disney’s Beauty and the Beast Jr. when Covid-19 shut down stages and venues everywhere including Ravinia Festival where they put on one of their shows.
“We didn’t know how long the quarantine would last but the kids had signed on,” said Flaster.
In addition, their staff orchestrator, editor, costumer and props people were still working on the shows and still hoped to do Les Mis and Beauty.
“So, we had to do something,” said Fauntleroy.
The something was to ask Peter Marston Sullivan, associate artistic director of Marriott Theatre and founder with wife Elizabeth Telford of the new, digital production company Marston McCoy Media, to turn the two musicals into digital productions where everyone looked as if they were performing at one time on the same stage.
Beauty and the Beast Jr (A Performer’s School production by Marston McCoy Media
The kicker was that everyone couldn’t be filmed at once. CDC and Illinois Covid protocols meant keeping everyone safe with separate rehearsals, separate costuming, separate dance moves and separate singing, but it all had to look like one show, one backdrop, one taping.
Sullivan had already been working with them on workshops and knew they needed a way to present the musicals.
In 2020 Elizabeth and I sat in our basement to experiment. We didn’t want something as bland as zoom. Then Elizabeth, sang “One Day More” for a demo to show what is possible,” said Sullivan explaining that his wife, Elizabeth Telford, was a musical theater performer who had done several shows Marriott and around Chicago.
“I sent to The Performer’s School. They said they were thinking of doing Les Mis. So we all took a risk,” he said.
“Peter came to us and said he had this idea on how to make it happen,” said Flaster. She added, “We were willing to take a chance. So we all just dived in.
“We presented it to the students. They all said yes!” said Fauntleroy.
The students involved are 26 fourth and fifth graders in Disney’s Beauty and the Beast Jr. and 40 sixth through eighth graders in the school edition of Les Miserables.
What comes across when watching either of the completed productions is that the youngsters could easily go on to post college or academy careers in musical theater. Past Performer’s School students have performed on Broadway, in regional theaters and commercials.
The P:erformer’s School founders Stacey Flaster and Liz Fauntleroy,
Flaster and Fauntleroy, explained that talent agencies, casting directors and local theaters often ask the school to suggest students for particular shows and roles.
The two school founders are themselves, veterans of Chicago area musical theater who then went on to teach workshops before founding their school eight years ago.
They noted that some of the students just enjoy performing while others are very talented, have agents already and often go on to related fields in college.
The back story is that after a few months of experimentation and six months of multiple takes of each cast member in front of the type of screen similar to one used by TV weather forecasters, the results were two astounding productions.
“It’s not like zoom. It’s a cinematic experience,” said Flaster.
Elizabeth Telford, baby McCoy and Peter Marston Sullivan (Photo courtesy of Marston McCoy Media
Sullivan explained the process as “long” “complicated” and “layering.”
“We record the performers individually in front of a green screen then edit that so they appear to be together,” he said. “There are multiple takes with each kid, then they are cut out and all put together so then when we animate it feels like a movie.”
He added, “My wife had the great idea to have them looking where they would in a scene. So, in one take Jean Valjean would be looking left toward Marius (Pontmercy) who would be looking right in his take.”
He then edits the tapes and stacks them one behind or in front of another. “It’s hard. ‘One Day More’ took two weeks to edit,” he said. Then added, “The battle scene is amazing. It’s really layered editing, like animation.”
Sullivan said kudos had to go to TPS Music Director/editor Jeff Poindextor, “The orchestral track was all done at Marriott’s large rehearsal warehouse,” and to other staff of The Performer’s School who worked on the project.
“It’s hard, but what you see is cool. People will see what is possible,” said Sullivan. “And what was done with the students is amazing. They learned a whole different medium. The shows were perfect for film and the kids see themselves as movie stars. They’re glowing.”
Jonathan Hancock in Badlands National Park in Bastard’s Road.
4 Stars
PTSD is a very difficult subject for many people to fully understand. Therefore, it is an even more difficult topic to make into a film. However, Bastards’ Road does an excellent job of representing this condition through clever cinematographic choices.
Bastards’ Road is a 96 minute documentary that focuses on veteran Jon Hancock, an American who served in the Iraq War. After returning home the horrendous things he had both seen and done followed him, resulting in chaos in his personal life and mental health.
Ranging from alcohol abuse to suicidal tendencies, Jon had come home as a different man and found it difficult to get help.
To heal himself, he journeys across the United States on foot, visiting his friends from the Marines along the way, as he contemplates both the war and his life.
One amazing aspect of this film is the cinematographic choices that are used. For example, in the film, we see many shots of Jon walking past beautiful, relaxing landscapes. In these shots, he is often shadowed and silhouetted while the nature is colored in soft, pastel colors.
In a sense, this represents Jon’s dark, internal struggles, but also the fact that there will always be hope for him, which is shown by the light and color in the background.
Here, the audience is able to visually see and understand how disconnected Jon is from the world and the extent to what he is going through. By casting him in shadows, the audience can understand the emotional darkness that the shadows symbolize.
Additionally, the film includes actual footage from the Iraq War that we see while Jon and his friends discuss the horrors of war. While this footage is not always pleasant to watch, it heightens the overall stories and allows the viewer to better understand war and PTSD and therefore relate to the veterans.
When the audience is able to see actual footage of the events that, years later, still haunt these men, it is easier to understand where Jon and his friends are coming from. This footage is utilized perfectly, as it is weaved within the veterans’ personal stories.
Bastards’ Road is an incredibly heartfelt narrative that shows the difficulties of war and overcoming your past. Through cinematic techniques, the quality of the film is increased, resulting in a superb film without a dull moment.
Whether you like or dislike documentaries or movies about war, this film’s uniqueness and beauty makes it a must-see for everyone, due in part to its importance and educational value.
(Where to catch the film: A Gravitas Ventures award-winning feature documentary, “Bastards’ Road” can be found on TVOD/digital platforms & DVD. Find it atLink Tree/ bastgardsroad.)
Bella, Mary Beth Fisher and Christopher John Drea, in Adam Rapp’s ‘The Sound Inside’ streaming live from Goodman Theatre. Photo by Cody Nieset)
3 stars
“The Sound Inside,” by Adam Rapp, the Jefferson Award winning and Pulitzer Prize nominated playwright of “Red Light Winter,” is a perfect choice for Goodman Theatre’s first live performance on its Owen Theatre stage.
A 90-minute drama that will have audiences wondering what happens next, the play follows the high intensity interaction between a Yale professor who teaches a writing class and a student.
The difference in watching this play from last year’s pre-pandemic, in-person shows and the streaming plays mounted in 2020 and still going on, is that the audience is not filling Owen’s seats and that the action is not pre-taped.
Viewers are at home watching the action as it happens. (Camera angles are important and included in the photos)
Because some scenes seem to be wordy and others might make audiences who think too much information might want to fast forward, which of course, they can’t, the fact that this is live is actually good.
What may sound like background information is crucial to the psychological buildup behind each character’s behavior, responses and the play’s conclusion.
The characters are Bella Lee Baird, interpreted brilliantly by Mary Beth Fisher as a 50-something creative writing professor who is struggling with a recent diagnosis of stage 2 cancer, and Christopher Dunn, superbly played by John Drea as an antisocial, anti- technology freshman in her Reading Fiction for Craft course.
Christopher sees Twitter as an outlet for those people “scared of loneliness.” Bella who somewhat narrates the actions, describes herself as unremarkable and the equivalent of a “collectible plate on the wall.”
Not so incidentally, Rapp’s mother’s maiden name was Mary Lee Baird. She died in 1997.
Director Robert Falls cloaks the opening scenes in darkness. They mirror Bella’s mood as she describes the dark park where she comes at night when she can’t sleep. She says the park is “filled with trees that look arthritic.”
Bella then recalls her mother’s illness and death and wonders what she could have done wrong to bring on cancer because she eats healthfully and doesn’t overdo anything.
The scenes between the two characters contain a minimal number of props and lighting so that the audience can focus on Bella’s and Christopher’s changing relationship and the information slowly released about a book he is writing and about a book Bella wrote.
Among the worrisome and telling features of “The Sound Inside” is that both books are tragic and that Christopher believes good, successful authors commit suicide. He names several.
Another telling point is Christopher’s response to Bella’s use of Dostoyevsekyh’s “Crime and Punishment” to discuss antiheros as in the murder of the pawnbroker and his sister. Christopher cries, “Someday, I’m going to write a moment like that.”
“The Sound Inside,” is streaming live from May 13 –16. Running time: 90 minutes.
“Ohio state Murders’ streams live June 17-20. “I Hate It Here streams live July 15-18, 2021. Individual tickets are $30. Three productions tickets with a Live Membership is $60..
Main gate at Ravinia Festival in Highland Park. (J Jacobs photo)
Music will again be heard in the Pritzker Pavilion, across the road at Orchestra Hall and north of the city at Ravinia in Highland Park. The openings this summer come as Chicago and Illinois allow more public gatherings because of the reduction in COVID cases and increase in vaccinations.
What will be different is ticketing and number of people allowed so check their websites.
Ravinia Festival
Opening night is 8 p.m., July 9, 2021.with conductor Marin Alsop, pianist Jorge Frederico Osorio and the Chicago Symphony Orchestra in the Pavilion. The program is composer Joan Tower’s Fanfare for the Uncommon Woman No. 1, Mozart’s Piano Concerto No. 23 and Beethoven’s Symphony No 7. .Tickets are $35-$145 Pavilion and $15 on the Lawn.
What you need to know
The season contains 64 concerts from June through September with the earliest programs free streaming live with no park admittance and a free July 3 “thank-you” concert to invitees. Then the schedule continues with a diverse program.
Tickets are divided into two parts with the first half from July to Aug. 15 going on sale to the public beginning June 15 at Ravinia.org. Donors can buy tickets beginning May 13 depending on level of contribution. The second half concerts are on sale July 21. Check Ravinia Festival Calendar and Tickets for more information. For Donor ticket times visit Ravinia/DonationLevels. Scroll down to donor timelines.
Ravinia Festival is just north of Lake cook Road betgween Green Bay Road and sheridan Road in Highland Park. Attendees are encourage to take the Metra which stops at the Ravinia’s main gate.
Jazz Grandstand Friday, June 11, 6:00 p.m. – Livestream from Bennett Gordon Hall Ravinia Steans Music Institute RSMI Program for Jazz Free livestream on YouTube.com/RaviniaFestival – No in-park admission. (Photo courtesy of Ravinia Festival)
Chicago Symphony Orchestra
The Chicago Symphony Orchestra Association is welcoming audiences back to Orchestra Hall with the opening concert on May 27, 2021 with a special tribute to healthcare workers from Rush University System for Health.
According to a CSOA statement, three distinct programs created with artistic guidance by Music Director Riccardo Muti, will be presented May 27 through June 13. Featuring music for brass and percussion, string ensembles and orchestra, they will be led respectively by conductors Michael Mulcahy, Erina Yashima and Edo de Waart on consecutive weekends. Performances are Thursday at 7:30 p.m., Friday at 1:30 p.m., Saturday at 7:30 p.m. and Sunday at 3:00 p.m.
What you need to know
Ticket availability is limited due to current restrictions on audience capacities for performance venues. Tickets for the CSO’s May and June concerts go on sale to the public at 10 a.m. CDT on May 11, 2021, and will be available at cso.org or by calling 312-294-3000. For protocol and more ticketing information visit CSO.org/SafeandSound.
The concerts are in Orchestra Hall at Symphony Center, 220 S. Michigan Ave., Chicago.
Grant Park Festival will be at the P:ritzker Pavilion. (J Jacobs photo)
Grant Park Music Festival
The music festival opens Fourth of July weekend in the Jay Pritzker Pavilion with Independence Day Salute programs beginning July 2 at 6:30 p.m. The opening concert features the Grant Park Orchestra and conductors Carlos Kalmar and Christopher Bell.
The program includes
John Williams: Summon the Heroes Scott Joplin: Overture to Treemonisha
Arr. Robert Lowden: Armed Forces Salute Florence Price:Dances in the Canebrakes Leonard Bernstein: Selections from West Side Story, George Walker: Lyric for Strings, Pytor Ilyich Tchaikovsky: 1812 Overture
John Philip Sousa: Stars and Stripes Forever. For whole program and season visit 2021 Season :: Grant Park Music Festival. For more information visit Grant Park Festival.
What you need to know
Seats are free but due to crowd restrictions, reservations are required for the Seating Bowl and on the Great Lawn. Reservations may be made online or by phone. Passes will be touch-free and issued with a barcode to be printed at home or displayed on smartphone. Health & Safety protocols—masks are mandatory—in order to gain entry to the Pavilion.
Chicago Auto Show 2020 (Photo courtesy of Chicago Auto Show)
The Chicago Auto Show, North America’s largest and longest running auto show, begun in 1901, returns to McCormick Place this summer as a Special Edition, July 15-19, 2021.
Announced earlier today by Governor JB Pritzker, Chicago Mayor Lori E. Lightfoot and other officials, the auto show’s announcement comes on the heels of Navy Pier’s recent re-opening the end of April and Ravinia Festival’s announcement that concerts return in early July.
Show goers can expect to see production vehicles such as the Alfa Romeo 4 C, concept vehicles such as Toyota’s GR Hyperspeed Edition and debut vehicles such as the 2020 Aston Martin DBS Superleggera.
However, as a special edition that is observing COVID protocols, don’t look for them in the usual places. The show will be held in Mccormick Place’s West Building and it’s outdoor surroundings.
The move not only takes in pandemic concerns but also allows for outdoor test drives and more test tracks and technology demonstrations.
“With strong public health protocols in place, the Chicago Auto Show will be the first large convention to take place in Illinois since the onset of the COVID-19 pandemic, setting the stage for the safe return of big events in the months to come,” said Gov. Pritzker.
After reminding everyone that the venue was an alternate care facility for COVID-19 cases about this time last year, Mayor Lightfoot said that the change in the pandemic numbers in Illinois made the auto show announcement even “more special.”
She added, “In the same spirit of collaboration between government, healthcare, community, and corporate partners, we are now able to bring conventions back to our beloved convention center in a way that is safe and reflective of our progress in slowing and stopping the spread of this virus. I look forward to seeing the McCormick Place reopen its doors for the Chicago Auto Show this July and further enhance our city’s ongoing Open Chicago initiative.”
Chicago Auto Show 2020. (Photo courtesy of Chicago Auto Show)
The Auto Show website details the following mitigation and safety measures:
a move to Hall F in West Building with 470,000 sq ft of indoor space and 100,000 sq ft of outdoor space;
• timed entrance windows and staggered entry to prevent congestion on the show floor and at arrival;
requirement to wear face masks at all times sanitization stations throughout the event;
contactless delivery for tickets;
temperatures will be scanned,
a medical questionnaire must be filled out before entry is allowed into the event.
The Chicago Auto Show general information line is (630) 495-2282. More show information visit Chicago Auto Show. exposition on the continent. This year marks the 113th edition of the Chicago Auto Show.
If you go
Date and hours: July 15-18, 9 a.m. – 10 p.m. and July 19, 9 a.m. – 8 p.m.
Location: McCormick Place, West Building, 2301 S. King Drive, Chicago.
Orchids make a lovely Mother’s Day gift. (J Jacobs photo)
Second in a fun Mother’s Day ideas series. See Travel Smart for the first article in the series and Dining Out-Eating In for the third one.
Mother’s Day isn’t until May 9 in 2021 but reservations fill fast, so figure out something special, now. The ideas listed here: Stay, Play, Eat, Treat, Spa and Ooh La La are merely a guide.
Stay
Book a package deal at the 5 star Peninsula Chicago, among the city’s top luxury hotel. It has an exceptional spa, large lap pool with great views and a great roof-top lounge.
Or get a room with a view at Sable, a new Hilton hotel. You will be staying on Navy Pier, Chicago’s No. 1 attraction that re-opens April 30, 2021. Plus the hotel has Offshore, the world’s largest roof-top bar.
Lincoln P:ark Conservatory’s Spring Flower Show opens on Mother’s Day. (Photo courtesy of Lincoln Park Conservatory)_
Play
Stroll Lincoln Park with stops at the Zoo to talk to the animals and the Conservatory for its Spring Garden show, opening May 9. Reservations are needed because of COCID protocols.
Or snag tickets for an architectural tour on the Chicago River. Two popular tours are the Wendella and the Chicago Architecture Foundation’s River Cruise’s First Lady.
Eat
Do brunch at longtime favorite, the Signature Room at the 95th. The restaurant is atop of what was formerly called the John Hancock Center, a skyscraper now known as 875 N. Michigan Ave.
Or reserve a table (may be on a heated patio) at Shaw’s Crab House in Chicago or Schaumburg.
It’s hard to leave Gerhard’s, a European bakery in Lake Forest with just one treat. (J Jacobs photo)
Or look one North Shore suburb north for Gerhard’s, a European style bakery in Lake Forest.
Spa
Get Mom a gift certificate for a spa experience. There is likely a spa in her neighborhood but if going downtown Chicago and the oriental-flavored Peninsula is booked consider the spa at the Langham an upscale Chicago hotel with a British accent.
Long Grove Confectionary (J Jacobs photo)
Ooh la la
Flowers and candy have traditionally said “We love you.” The Chicago area has several good florists. Check out Blossoms or AshlandAddison, two popular and highly rated choices.
For candy, a top stop is Windy City Sweets in the Lakeview neighborhood. The only problem is that everything looks so good you’ll end up with stuff to also take home.
Or go to Long Grove Confectionary in suburban Long Grove. A longtime destination, the store also has factory outlets in Buffalo Grove, Wauconda and Chicago. Go back for a factory tour, good sale items and for holiday goodies.
Twilight Gods performed at a Millennium Garage in Chicago by the Lyric Opera. (Photo courtesy of the Lyric)
During 2020, the main year of our COVID pandemic, much of theater programing has gone on-line and emanated from homes rather than theater stages. It also has moved to unusual formats such as car seating in drive-ins for concerts, and now, to a parking garage. Really.
On April 29-30 and May 2, audiences of the the Lyric Opera of Chicago partnership with the Michigan Opera Theater will be driving inside a Millennium Garage to view Twilight: Gods, a part of Wagner’s Ring cycle.
The scenes are viewed in specific spots and accompanied by music and voices heard by turning the car’s FM radio to designated station spots.
As the Lyric’s general Manager Anthony Freud explained in the program book, “Last year, the pandemic prevented Lyric from presenting the premiere of our new production of Wagner’s Götterdämmerung and the three full Ring cycles that were to follow. It was wrenching for Lyric to have to abandon the Ring altogether, so we considered every possible way to perform any portion of it during this period of COVID. This led us to bring into the Lyric family the innovative director Yuval Sharon and the rest of the astonishingly gifted team that has created Twilight: Gods.”
The production is a collaboration between Lyric and the Michigan Opera Theatre where Sharon, a winner of the MacArthur Foundation “Genius Grant,” is artistic director.
“Sharon has radically reimagined Götterdämmerung/The Twilight of the Gods—the climactic fourth opera of the Ring—as a 70-minute series of installations that distill some of the core themes of Wagner’s massive work and concentrate on the central characters, as well as the decaying, corrupt society that they inhabit,” said Freud.
He added, “Experiencing this remarkable event within the sprawling underground world of the Millennium Garages-Millennium Lakeside Parking Garage, with the music coming to you via your car radio, offers a unique and brand-new dimension to our art form.”
Unfortunately, all the time slots are taken. However, there is a film version that will become available. Commissioned by the Lyric and created by Raphael Nash, the film will present the production so that viewers will see it as if they are driving through the garage. The film is slated to be released this summer.
To understand what the drivers will experience visit the orientation video Twilight: Gods program book | Lyric Opera of Chicago You learn that the performances take place at designated car stops, that your car window stays closed but you hear the music and voices on your FM radio and that you put the car into accessory mode so you can turn off the engine.
By radio, you will hear noted Brunnhilde interpreter soprano Christine Goerke, mezzo-soprano Catherine Martin as Waltraute, tenor Sean Panikkar as Siegfried, bass Morris Robinson as Hagen and baritone Donnie Ray Albert as Alberich. The production also includes the Rhinemaidens: Ryan Opera Center Ensemble members soprano Maria Novella Malfatti, mezzo-soprano Katherine Beck and mezzo-soprano Kathleen Felty.
On a final note: there will be no honking as applause but drivers can bring signs to hold that say “bravo.”
Lyric Opera of Chicago (Lyric photo)
Another place to hear and see opera this weekend is the the Lyric Opera of Chicago’s “Rising Stars in Concert, April 29 at 7 p.m. CDT. The program is the annual Patrick G. and Shirley W. Ryan Opera Center showcase that features its 2020/21 ensemble. It will be on You tube and Facebook. To learn more and tune in visit Rising Stars in Concert.
Joffrey Ballet Under Trees’ Voices. (Photo courtesy of Joffrey Ballet)
For dance, visit Joffrey Ballet which is streaming “Under the Trees’ Voices, that debuts April 20 at 7 p.m. CDT. Choreographed by Nicolas Blanc to Symphony No. 2 by Ezio Bosso, the message is about the power of community durng social distancing. To register and learn more visit Under the Trees’ Voices | The Joffrey Ballet
Which brings us to next Sunday, when a couple of months later than their usual time slot, the Academy of Motion Picture Arts and Sciences’ Oscars will air.
Considering most of us have been watching more TV this past year than usual, we arguably have been more interested in television’s show and acting awards than what we’d normally see in the theaters if we could or wanted to go.
However, Oscar night has been a time to see how Hollywood dresses up, hear political statements and sometimes honor the people and films we want to see that we missed.
So maybe as theaters reopen and production companies opt to put their 2020 films on Peacock, Netflix, Hulu, HBO, apple tv or Amazon Prime Video, we may get to see why a film or person was chosen, this year.
However the following timetable and highlights are what the Academy says Oscar Night, April 25, 2021 will be like this year.
It all starts at 6:30 p.m. ET/3:30 p.m. PT with the five nominated original songs performed by Celeste, H.E.R., Leslie Odom, Jr., Laura Paushini, Daniel Pemberton, Molly Sanden and Diane Warren as the lead-in called “Oscars: Into the Spotlight.”
Then, Ariana DeBose (“Hamilton”) and Lil Rel Howery (“Bad Trip”), will continue will with insiders’ peaks of the night that include an appearance by DJ Tara at 6:30 p.m. ET/3:30 p.m. PT.
The Oscars’ main event will be televised live on ABC at 8 p.m. ET/5 p.m. PT. and in more than 225 countries and territories worldwide.
It will be followed by “Oscars: After Dark” hosted by Colman Domingo (“Zolz”) and Andrew Rannells (“The Prom”) with interviews by film critic Elvis Mitchell and a recap of the evening.
Both specials are executive-produced by Michael Antinoro and David Chamberlin, alongside producers Collins, Sher and Soderbergh.
To allow for social distancing and following COVID protocols, the 93rd Oscars will be held at Union Station in Los Angeles, the Dolby® Theatre in Hollywood and international locations via satellite.
