‘World’s biggest sleep-out’ raises £3m for the homeless

More than 10,000 people have staged the “world’s biggest sleep-out” in a fundraiser to tackle homelessness.
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Disney Raises the Bar Robert Iger Has to Clear to Win Bonus

Walt Disney announced more-rigorous benchmarks required for CEO Robert Iger to collect a $ 100 million equity grant in 2021 that was criticized by shareholder advisory groups.
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Citymeals on Wheels Raises Nearly $1.2M

Citymeals on Wheels this week hosted its 32nd Annual Power Lunch for Women fund-raiser, raising nearly $ 1.2 million.
Fashion supporters of the benefit include Chanel, Dr. Patricia Wexler, Marcy Syms, Patti Cohen, Michael Kors, John Pomerantz, Georgina Chapman, Marigay McKee, Tamara Mellon, Jan Singer and Iman.
This year’s honorees include Kathie Lee Gifford, co-host of the fourth hour of “The Today Show;” Jessica Lappin, president of the Alliance for Downtown New York, and Derek Blasberg, YouTube’s Director of Fashion and Beauty. Gifford brought attendees to tears with her speech about the need to give back. An anonymous donor agreed to donate up to $ 1 million through the matching of donations starting at $ 10,000. Gifford kicked off the fundraising round with a $ 50,000 donation.
Mellon provided three styles from her eponymous line — Frontline, Icon and Siren — for auction. Skin care line Valmont provided a gift basket for auction and $ 2,500 toward a facial. Another option provided for auction was a Power Lunch with honoree Blasberg for breakfast, lunch or tea at Tiffany & Co.’s The Blue Box Café.
Actress Jane Krakowski was the emcee for the event, which included a reading of letters from meals recipients by Iman, and actresses Kathleen Turner and

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Megyn Kelly Blunder Raises Questions About Viability of Her NBC Show

Since joining NBC News in the Spring of 2017, Megyn Kelly has soldiered on at her morning program, “Megyn Kelly Today,” through various social-media controversies; a feud with actress Jane Fonda; scrutiny of her ratings, her guests, her dancing, her everything. Her hard work has been testament to her ability to take a punch and […]

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Critic’s Notebook: A High-Stakes Hearing Raises Two Voices, One Quiet, One Loud

The political and gender divide in America played out on TV not just in what Christine Blasey Ford and Brett Kavanaugh said, but how they said it.
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Mystery Russian satellite’s behaviour raises alarm in US

Official says “there is no way to verify” what object is and whether or not it may pose a danger.
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Convivio’s 14th Edition Raises 2 Million Euros

MILAN — The 14th edition of biannual Italian fund-raiser Convivio closed in Milan on Sunday, raising around 2 million euros.
Proceedings from the five-day event, which drew more than 33,000 visitors, will be donated to Anlaids Lombardy to support a diversified range of projects spotlighting research, care, prevention and information on HIV/AIDS.
“Convivio is not only a charity event but a chance to put AIDS under the spotlight, so that we keep talking about it and raise awareness on prevention among the younger audience and less-informed adults,” said Gabriella Gavazzeni Moroni, president of Anlaids Lombardy.
Money was collected through the market area selling half-priced high-end goods donated by around 200 fashion companies, including Alexander McQueen, Azzedine Alaïa, Brooks Brothers, Prada, Versace, Moschino and Saint Laurent, among others.
After the market was closed to the public on Sunday, the fund-raiser moved online with a series of digital auctions in partnership with New York-based Charitybuzz and Los Angeles’ Omaze, to sell fashion- and luxury travel-themed experiences. Additionally the eBay for Charity platform will keep selling Convivio’s T-shirts worn and signed by the event’s testimonials until June 16.

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Apple shares hit all-time high after Buffett raises stake

Legendary investor Warren Buffett raises his stake in the world’s most valuable company to 5%.
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Time’s Up Raises $21 Million for Legal Defense Fund to Help Victims of Sexual Harassment

The Time’s Up legal defense fund is already helping victims of sexual harassment.

Two months after the Time’s Up movement launched, the National Women’s Legal Center has started matching victims of sexual harassment with a network of lawyers and public relations professionals provided by the legal defense fund.

“Since Jan. 1, we’ve had over 1,600 people seek assistance,” NWLC President and CEO Fatima Goss Graves tells PEOPLE. “That number is continuing to grow, which tells us that the need is great.”

“People have begun to boldly share their stories and now their boldly beginning to seek assistance,” adds Graves.

To date, over 600 attorneys have joined the network.

“Some attorneys take cases pro bono while others will do it at reduced rates,” says Graves. “Everyone who joins this network has agreed to provide a free consultation. We are continuing to build out and recruit additional attorneys.”

The Time’s Up initiative has raised over $ 21 million for the legal defense fund, which helps victims of sexual harassment protect themselves from sexual misconduct and the fallout from reporting it.

“The donations have come from a real range of donors, more than 20,000 people have given to the fund. People have given from every state in the United States and globally,” says Graves.

More than 20,000 people and groups have donated so far, in sums ranging from $ 5 to $ 2 million.

“It’s critical that we keep the momentum up. We have been really successful in raising so much in such a short period of time and driving attention to the cause,” she says. “The need is so great. We aren’t going to stop.”

Movement starters Meryl StreepReese WitherspoonJennifer Aniston and Shonda Rhimes each donated $ 500,000, while Taylor Swift and Oprah Winfrey chimed in with $ 100,000 each. Natalie Portman, Emma Stone, Jessica Chastain and Cate Blanchett continued the donations with $ 50,000 each.

To donate to the Time’s Up Legal Defense Fund, which will provide subsidized legal support to women and men in all industries who have experienced sexual harassment, assault, or abuse in the workplace, visit its GoFundMe page. Learn more about Time’s Up, an organization of women in entertainment combating sexual harassment and inequality, on its website.

More than 300 prominent actresses and female agents, writers, directors, producers and entertainment executives signed an impassioned open letter that officially announced the movement on New Year’s Day.

“The struggle for women to break in, to rise up the ranks and to simply be heard and acknowledged in male-dominated workplaces must end; time’s up on this impenetrable monopoly,” the letter read in the New York Times.


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Qualcomm Raises Bid for Chip Maker NXP to $44 Billion

Qualcomm raised its bid for NXP Semiconductors to about $ 44 billion and locked up support from key investors, as the chip maker seeks to fend off a $ 121 billion hostile takeover approach by Broadcom.
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Qualcomm Raises Bid for Chip Maker NXP to $44 Billion

Qualcomm raised its bid for NXP Semiconductors to about $ 44 billion and locked up support from key investors, as the chip maker seeks to fend off a $ 121 billion hostile takeover approach by Broadcom.
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Google-Nest merger raises privacy issues

Campaigners are concerned that smart home specialist Nest will no longer be a separate business.
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Broadcom Raises Offer for Qualcomm to Over $121 Billion. Investors Don’t Bite

Broadcom made a sweetened offer for Qualcomm that valued it at $ 121 billion but did little to convince investors the would-be buyer could seal a deal with a company facing challenges from regulators and prominent customers.
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Broadcom Raises Offer for Qualcomm to Over $121 Billion. Investors Don’t Bite

Broadcom made a sweetened offer for Qualcomm that valued it at $ 121 billion but did little to convince investors the would-be buyer could seal a deal with a company facing challenges from regulators and prominent customers.
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Wal-Mart Raises Its Minimum Wage, Plans Bonuses After Tax Overhaul

Wal-Mart will raise starting pay to $ 11 an hour for all its U.S. employees and hand out one-time bonuses of up to $ 1,000, as the retailer doles out some of its expected gains from the new tax legislation.
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Suitsupply Raises $360 Million in Financing

Suitsupply has secured some financing to spur its expansion.
On Monday, the Amsterdam-based company said it has raised $ 360 million in capital from NPM Capital as well as a consortium of banks including ABN Amro, BNP Paribas, ING and Rabobank.
Suitsupply will use the funds to refinance its existing debt as well as for further international expansion, investments in technology and retrofitting some of its older stores.
“We are using the current competitive financing climate to optimally position the company for further growth at attractive conditions,” said chief financial officer David Dijkhuis.
Suitsupply operates a total of 91 stores around the world, including 32 in North America, a market it entered in 2011.
In the U.S., the company will open four more stores this year in Kansas City, Newport Beach and San Jose, Calif., and Bellevue, Wash. In 2018, Suitsupply will add units in Williamsburg, N.Y., Boston, St. Louis, Detroit and San Diego in the first six months.
Last month it launched a women’s chain called Suistudio with stores in Amsterdam and Shanghai as well as two in New York. The funds will also be used to expand that concept into new markets, a spokesman said.
The privately held Suitsupply was founded by Fokke de Jong who

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Victoria Beckham Raises $40 Million in Private Equity Investment

The Spice Girl turned fashion designer, who introduced her brand in 2008, will use the cash to enter new product categories and expand retail operations.
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Twitter Crackdown on Abuse Raises Question: Do the Rules Apply to Trump?

Twitter said it has clamped down on harassment on its service, a campaign that is forcing the company to confront tricky questions about how it applies its standards.
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Hawaii Five-0 Boss Speaks Out on Controversial Exits: Daniel Dae Kim, Grace Park Were Offered “Unprecedented Raises”

Hawaii Five-0The chatter surrounding Daniel Dae Kim and Grace Park’s surprise exits from Hawaii Five-0 isn’t dying down just yet.
Shortly after CBS issued a statement explaining their side of…

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Hawaii Five-0 Boss Speaks Out on Controversial Exits: Daniel Dae Kim, Grace Park Were Offered “Unprecedented Raises”

Hawaii Five-0The chatter surrounding Daniel Dae Kim and Grace Park’s surprise exits from Hawaii Five-0 isn’t dying down just yet.
Shortly after CBS issued a statement explaining their side of…

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Snapchat map update raises child safety worries

An update to Snapchat lets people search for schools and see pictures posted by children inside.
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Women for Women International Charity Raises Money From Designer Donations

DESIGNER DOLLARS: “The mood has been excellent,” said Charlotte Olympia Dellal, the founder and owner of footwear firm Charlotte Olympia, referring to the designer car boot sale in London’s Soho on Saturday. “It’s a fun day out, and we love seeing all the women getting excited for shoes as women do. I love that this is all going to charity,” added Dellal, who is an ambassador for Women for Women International U.K. The nonprofit humanitarian organization aims to provide financial and educational support to women survivors conflict and poverty.
Charlotte Olympia, Edeline Lee and Temperley London were among the number of British and international labels that sold clothing, beauty items and artwork for the second Women for Women charity car boot sale — similar to a garage sale — that took place in London’s Soho. The event has raised more than 150,000 pounds, or $ 194,009, so far, with the rest of the items to be listed on eBay May 15. Every item sold will go toward the charity organization’s work in helping women survivors of conflict.
Hosted by Alex Eagle’s The Store and The Vinyl Factory’s Brewer Street Car Park, the latest edition of the sale spanned two floors. Cars were parked

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Your ‘Big Bang Theory’ Faves Get Raises After Leads Take Salary Cut

Any way you put it, everyone on CBS’s “The Big Bang Theory” makes bank. But some cast members ― Jim Parsons, Johnny Galecki, Kaley Cuoco, Kunal Nayyar and Simon Helberg ― have a considerably larger slice of the pie, given that they’ve been around since the show started in 2007. 

Amid contract negotiations for the upcoming Seasons 11 and 12, the five leads reportedly each took $ 100,000 in pay cuts from their $ 1 million per episode salaries to even the playing field with other series regulars Mayim Bialik and Melissa Rauch.

Up until this week, the negotiations were ongoing, with Bialk’s and Rauch’s status still unknown, but according to Deadline, the actresses have finalized deals that would keep them around for the two-season renewal. 

The two started on the long-running sitcom in Season 3 and became series regulars the following season, earning an estimated $ 175,000–$ 200,000 per episode. However, given that Bialik and Rauch’s roles have considerably expanded in recent years, contract negotiations were prolonged as they both reportedly aimed to match the salaries of the five leads. 

Under this new contract, Rauch and Bialik, the latter of whom has been nominated for four Emmys for her role, will likely earn $ 425,000–$ 500,000 per episode, Deadline reports, largely due to Parsons, Galecki, Cuoco, Nayyar and Helberg’s decision to spread the wealth. The new deals also reportedly contain a development component for both Bialik and Rauch.

“The Big Bang Theory” might’ve just dipped to a series low in ratings after its most recent episode, but rest assured, this show will outlive us all. 

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Fashion Review: At Calvin Klein, Raf Simons Raises the Bar

The New York ready-to-wear shows kick off with the most-anticipated debut of the week.
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China’s JD.com Says Finance Unit Raises $1 Billion

Chinese e-commerce company JD.com said its financial subsidiary has raised $ 1 billion in financing, as competition intensifies among the country’s Internet giants to ramp up hugely popular offerings of online financial services.
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London Label Me+Em Raises Investment

LONDON — Me+Em, a London-based contemporary label that’s a favorite of the Duchess of Cambridge, has received funding from a consortium of investors to fuel its expansion.
Pembroke Venture Capital Trust said Thursday said that together with Venrex Fund, Sir Charles Dunstone and a number of other private investors, it has taken a “co-investment” in Me+Em. Pemroke didn’t disclose the size of the investment the group have made in the label.
Pembroke said the funding would allow Me+Em to acquire new customers, broaden its product offering, introduce wholesale and increase customer engagement with the brand, through investing in digital, social and public relations activity.
Andrew Wolfson, chief executive officer of Pembroke Venture Capital Trust commented: “We were impressed by the way the [Me+Em] product resonates with their target demographic and the team’s intelligent approach to marketing and data management,” he said.
Clare Hornby, founder and creative director of Me+Em added: “Me+Em has doubled in size over the last 18 months. I am excited about the future and working with Venrex and Pembroke, who both provide the expertise and financial support to take the brand to the next level.”
Hornby founded Me+Em in 2009, and it’s primarily sold through the label’s e-commerce site and brochures, and from

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Scottish Ballet’s Erotic Streetcar Named Desire Raises Temperatures in Chicago

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Sophie Martin as Stella and Tama Barry as Stanley in Scottish Ballet’s A Streetcar Named Desire. Photograph by Andrew Ross.

They almost had to hose down the audience at intermission of Scottish Ballet’s A Streetcar Named Desire at the Harris Theater in Chicago on Thursday night. Erik Cavallari’s Stanley had just had make-up sex with Sophie Martin’s Stella, and choreographer Annabelle Lopez Ochoa’s imaginative way with the erotic pas de deux had everyone hot and bothered.

In a welcome departure from the one-note depictions of sex in the male-dominated world of ballet, the tiny, sinewy Martin calls the shots in this scene. The balance of power has shifted – after her husband struck her in a drunken rage, and she fled their claustrophobic New Orleans tenement apartment. Sober and whimpering upon her return, he spins and drags and upends her, at her hungry command; she flings herself at him repeatedly, in a flying half-twist, challenging him to catch her at the peak of her jump.

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Sophie Martin as Stella and Tama Barry as Stanley in A Streetcar Named Desire. Photograph by Andrew Ross.

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Erik Cavallari as Stanley and Sophie Laplane as Stella in A Streetcar Named Desire. Photograph by Andrew Ross.

This is not a relationship that is likely to end well but, for now, Stella is in control, as she is at the mournful end of this Southern gothic tragedy, when she makes the anguished decision to commit her sister Blanche to a mental asylum. The sensual Martin is magnificent throughout, a firecracker. Cavallari, stocky and ripped, plays the sexual predator with attention to the small but explosive details of body language, wisely avoiding caricature – not an easy feat when you must swagger in the footsteps of Marlon Brando.

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The Company in A Streetcar Named Desire. Photograph by Andrew Ross.

Having decided, in tandem with stage director Nancy Meckler, to flesh out Blanche DuBois’ backstory, to unravel the narrative and present it in chronological fashion, Lopez Ochoa rose to the challenge of portraying the assorted sex acts that, in Tennessee Williams’ 1947 classic, take place offstage, or are mentioned only in passing in the dialogue. She draws expertly and seamlessly from a range of dance styles, never straying far from classical ballet, in a manner that flaunts the dramatic and technical flair of this handsome company.

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Victor Zarallo as Alan and Luke Ahmet as the Lover in A Streetcar Named Desire. Photograph by Andrew Ross.

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Eve Mutso as Blanche, Victor Zarallo as Alan and Luke Ahmet as the Lover in A Streetcar Named Desire. Photograph by Andrew Ross.

Sexual exploits start with the homosexual encounter between Blanche’s boyish husband Alan and a man whom he meets at their wedding dance – a variation on the Romeo and Juliet meet cute at the Capulets’ ball, that here manifests as an unaffected and moving duet. This leads to a brief threesome, full of intertwining arms and confused glances, until Blanche’s revulsion – or jealousy, or both – drives Alan to suicide. Throughout the evening, the figures of Alan, in bloodstained shirt, and his lover reappear to dance with Blanche whenever she slips into an alcoholic haze – a striking choreographic gambit that embodies her frequent hallucinations.

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Luke Ahmet as the Lover, Victor Zarallo as Alan and Kara McLaughlin as Young Blanche in A Streetcar Named Desire. Photograph by Andrew Ross.

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Eve Mutso as Blanche with the Company in A Streetcar Named Desire. Photograph by Andrew Ross.

The DuBois family estate crumbles – literally, in a triumph of scenic design in which a massive backdrop, emblazoned with a hazy photographic image of a stately Southern plantation home, explodes into a mass of wooden packing crates – driving the destitute Blanche to prostitute herself in a seedy hotel. The hotel sex is impersonal, mechanistic, efficient.

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Eve Mutso as Blanche and Erik Cavallari in A Streetcar Named Desire. Photograph by Andrew Ross.

The lonely Blanche seeks comfort in seducing a young boy. In another twist on Romeo and Juliet (MacMillan’s version), the boy lies on his back as she perches on his raised shins, arching her spine into a crescent.

In the rape scene, movement and score are stripped to a stark minimum. After taunting Blanche (danced on Thursday and Friday evenings by the statuesque, mesmerizing Eve Mutso), stripping her and kicking her to the floor, Cavallari props her against the bed (assembled, like the rest of the set, from packing crates) and smashes her against it, accompanied only by what sounds like the repeated slamming of metal doors that won’t stay shut.

Even crumpled in stillness, Mutso conveys a mix of fragility and willpower. In motion, she calibrates her movement to suggest a constant sense of being slightly off-balance, on the brink of collapse, the elegant sweep of her preternaturally long arms and legs swiftly fractured by bent elbows and knees.

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Eve Mutso as Blanche with the Company in A Streetcar Named Desire. Photograph by Andrew Ross.

Lopez Ochoa’s command of the ensemble is no less compelling than her portrayals of intimacy and domestic violence. She gives the crackerjack corps de ballet a stern Graham-based vocabulary with which to drive Blanche out of her home town. Maneuvering packing crates into two tight columns, they become a seething mass of humanity on the crowded streetcar named Desire. They form two rival teams in a bowling alley, their high-octane swing routine fired up by a jukebox. In the final scene, as the doctor in a lab coat arrives to take Blanche away, the men and women of the corps appear as a menacing crowd in identical black dresses, crimson carnations sprouting from their mouths – a surreal mushrooming of the scene in the play in which a blind Mexican flower seller offers Blanche a garish bouquet of “flores para los muertos” (flowers for the dead).

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Eve Mutso as Blanche with the Company in A Streetcar Named Desire. Photograph by Andrew Ross.

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Bethany Kingsley-Garner and the Company as the Mexican Flower Sellers in A Streetcar Named Desire. Photograph by Andrew Ross.

The ballet opens and closes with the same image of Blanche reaching for a naked light bulb that descends from the ceiling. With gently fluttering hands and skittering feet, her spine arching and twisting, her head thrown back in hope and trepidation, the layered skirt of her white dress floating as she pivots indecisively, she seems to hover delicately over the floor. The gossamery manner in which she steps on and off pointe and makes swift, fine-grained changes between quarter-pointe and full pointe, belies the wondrous plasticity of her insteps, and remarkable control.

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Eve Mutso as Blanche in A Streetcar Named Desire. Photograph by Andrew Ross.

Program notes tell us that Meckler and Lopez Ochoa were drawn to the image of a moth: Williams originally intended to title his play The Moth and makes reference in the play itself to Blanche’s “uncertain manner… that suggests a moth.”

Beyond the inventive uniting of drama, dance, score and set design to illuminate Williams’ psychological melodrama and caustic social commentary, this Streetcar brilliantly evokes the 19th century Romantic classic Giselle, in which a good-hearted peasant girl is driven to madness by the betrayal of a deceitful, two-timing aristocrat.

Ivor Guest could have had Blanche DuBois in mind when he recapped the first Act of Giselle, focusing on “the fragility of the heroine, her mind balanced between reason and madness.” Though Blanche is the aristocrat in Williams’ tale, she is twice betrayed – first by her secretly gay husband, and then by the working class Stanley, who resents her highfalutin ways, offended by the reminder that his wife comes from the same stock. The droit du seigneur exercised by the duplicitous Count Albrecht is here remodeled into the hypocrisy very much alive in 1940’s America, that allowed men to sow their wild oats and to treat their wives like possessions, while branding women who had sex outside marriage as damaged goods, outcasts, even insane.

There are thousands of papers stretching back over hundreds of years, affecting Belle Reve as, piece by piece, our improvident grandfathers and father and uncles and brothers exchanged the land for their epic fornications – to put it plainly!
– Blanche in Scene 2 of A Streetcar Named Desire remarks on the dissolution of the DuBois family estate

Upon Giselle’s death (or suicide), she is drawn into a gang of ghostly, moth-like maidens, draped in layers of white gauze, who have been similarly jilted and are bent on revenge against all men. The Wilis and their icy, shimmering, relentless choreography in the second and final Act of Giselle reflected a 19th century anxiety about growing numbers of unmarried, unmoored women whose sexual appetites could not be contained.

In the second Act of Streetcar, as Blanche’s hold on reality becomes increasingly tenuous, the ensemble women join her in her moth-like fluttering under a score of naked lightbulbs that descend from the rafters; the stage dims to resemble the eerie nights in the forest policed by the vigilante Wilis.

19th century nerves were calmed when the dead Giselle saved Albrecht from death at the hands of the Wilis – a female self-sacrifice to ensure male survival.

In Streetcar, Stella sacrifices her sister in order to uphold the patriarchy.

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Eve Mutso as Blanche and Adam Blyde as Mitch in A Streetcar Named Desire. Photograph by Andrew Ross.

The image of an irresistible but unattainable, and sometimes cruel, light is further cemented by the repeated deployment of Ella Fitzgerald’s recording of Harold Arlen’s ‘It’s Only a Paper Moon,’ that at strategic moments serves to highlight Blanche’s retreat into fantasies and fictions that make life more bearable (“it wouldn’t be make-believe/ if you believed in me.”)

Peter Salem’s heady score veers from lush, decorous waltzes to a hypnotic minimalist brume, fragments of New Orleans jazz and jukebox, occasionally shattered by the shrapnel of industrial sounds.

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Adam Blyde as Mitch and Eve Mutso as Blanche in A Streetcar Named Desire. Photograph by Andrew Ross.

Only one element seemed lacking in the ingenious and austere set design: a lighting scheme to indicate the curtains which divide the cramped space in the Kowalskis’ flat – a crucial device in the play that underscored how lack of privacy stoked tensions between its inhabitants.

The only gratuitous detail in the marvelously inventive staging was Cavallari’s roaring of “STELL-LAHHHH!” after she escaped his drunken assault. Lopez Ochoa should have trusted her choreography – and the wailing solo saxophone that accompanied it – to convey Stanley’s brutish needs. After his poker buddies shove him into the bath to cool down, Cavallari rips off his water-logged T-shirt and chews up the stage in a desperate quest to track Stella down. There was no need to translate his magnificent body language into a verbal howl. Tennessee Williams would likely have edited that out.

Catch Scottish Ballet on the rest of its American tour, through May 30th: check tour dates for San Antonio, Houston, Pittsburgh, Charleston and Washington, DC on their website.

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