How the government’s COVID curtain-raiser triggered a week of chaos for the arts
The lifting of restrictions in England was repeatedly hailed as “Freedom Day” by those inside the government – and in the live performance industry.
For the first time for the best part of 18 months, English theatres, gig venues and clubs could pack people into their rooms with no legal requirement for them to wear masks or socially distance.
But the chaos set in almost immediately – with a day of celebration for some becoming a day of confusion and heartbreak for others.
Cinderella, played by Carrie Hope Fletcher, will not be going to the ball – yet. Pic: Tristram Kenton
Lord Andrew Lloyd Webber, one of the biggest proponents of getting theatres open, had to shutter his brand new show Cinderella, after just one case of coronavirus in the 35-strong cast last weekend.
The “pingdemic” had taken down the West End’s biggest impresario before he had chance to formally show off his new multimillion pound body of work.
It was of course a feat (and a risk) in itself to debut a big musical during a global health crisis and in an impassioned news conference at his theatre, Lord Lloyd Webber laid the blame at the front door of Number 10, saying the current system of isolation has brought his beloved industry “to its knees”.
Speaking to Sky News on Thursday, the peer said that he believes that vaccine passports could be the future of trying to solve this problem and testing will become common place in his theatres – but that may not solve the issue of isolating casts.
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Vaccine passports for theatres ‘inevitable’
After falling through the trap door, Cinderella will continue previews on the 18 August before opening fully on 25 August – likely in the hope that COVID-19 cases start to decrease across the country and lessen the threat for his show.
But it wasn’t just Lord Lloyd Webber who has been affected by the dreaded COVID app alerts.
Kenneth Branagh’s production of The Browning Version at the Riverside Studios in Hammersmith was shelved after an “increasing number of COVID-enforced absences” during rehearsals, meaning the mixture of self-isolating individuals and those who caught the virus meant it was left with no time to get the show on stage.
And on Friday, the Young Vic put out a statement saying “We’ve been pinged”, announcing that its first preview of Changing Destiny had been pushed back until the following week due to isolation requirements.
However, Hairspray, which had to pause for more than a week after cast members were forced to isolate, has employed a clever tactic to avoid any more disruption – hiring more staff.
The ’60s musical has taken on a new set of cast members who will not head to the theatre unless they’re needed, meaning if one member of the team tests positive and takes out everyone else – the show can still run with its backup, yet still very talented, cast.
It wasn’t just the West End that had its COVID bubble burst either – the touring production of the ever-popular Six had to skip its stop in Hull when some cast members tested positive, forcing the entire company into isolation.
Even the local theatre in Babbacombe in Devon had to cancel a week of shows, after the cast of its summer show were told to isolate.
TV and film productions that were shooting in various parts of the UK were also halted last week with Netflix’s Bridgerton shutting down filming for its second season for the second time, while the streamer’s version of Matilda The Musical also had to partially pause its project – both because of COVID and self-isolation.
And even the Targaryens couldn’t avoid the pandemic, with HBO’s Game Of Thrones spin-off House Of The Dragon also shutting down for a few days after a positive test.
But for some there was elation at the new lack of restrictions.
The Royal Albert Hall burst back to life – but its auditorium was not completely full
A number of venues hailed their new-found freedom by, cautiously, opening their auditoriums to as many people as possible – with plenty of West End and local productions finding their way on stage.
At the Royal Albert Hall on Wednesday, there was an explosion of song and dance as nearly 200 people got on stage to take part in a Best Of The West End show – featuring the likes of West End giants Mica Paris, John Owen Jones and Ben Forster.
I was lucky enough to be invited to watch and while the show was exciting and, in some parts, emotional, the arena wasn’t full – a reminder that while restrictions have been legally lifted, not everyone is rushing back to venues.
With only a small let-up in the rise in cases towards the end of the week, it could still be some time before the sector finds its feet – and we could still see more parts of the industry be forced into the wings.
The Oscars will be streamed live on YouTube from 2029 after being broadcast on the ABC network for decades.
It means the annual film awards will be available to the video-sharing platform’s two billion users for free around the world in four years.
The Academy of Motion Picture Arts and Sciences announced the deal with Google-owned YouTube on Wednesday, saying the streaming giant will have the exclusive global rights to the Hollywood awards from 2029 to 2033.
YouTube will effectively be the home to all things Oscars, including red-carpet coverage, the Governors Awards and the Oscar nominations announcement.
The Academy Awards ceremony has been broadcast by ABC for most of its history, but 2028 will be its last year showing the Oscars as they celebrate their 100th anniversary.
“The Oscars, including red carpet coverage, behind-the-scenes content, Governors Ball access, and more, will be available live and for free to over two billion viewers around the world on YouTube, and to YouTube TV subscribers in the United States,” an announcement on the Academy Awards’ website read.
“We are thrilled to enter into a multifaceted global partnership with YouTube to be the future home of the Oscars and our year-round academy programming,” said academy chief executive Bill Kramer and academy president Lynette Howell Taylor.
They said the new partnership with the platform “will allow us to expand access to the work of the academy to the largest worldwide audience possible”.
File pic: Reuters
‘Inspiring new generation of creativity and film lovers’
“The Oscars are one of our essential cultural institutions, honouring excellence in storytelling and artistry,” said YouTube chief executive Neal Mohan.
“Partnering with the academy to bring this celebration of art and entertainment to viewers all over the world will inspire a new generation of creativity and film lovers while staying true to the Oscars’ storied legacy.”
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The awards will be available with audio tracks in many languages, in addition to closed captioning.
Last year’s Academy Awards were watched by 19.7 million viewers on the Disney-owned ABC, a five-year high but far below the show’s biggest audience of 57 million in 1998.
The network has been the broadcast home to the Oscars for almost its entire history. NBC first televised the Oscars in 1953, but ABC picked up the rights in 1961.
Aside from a period between 1971 and 1975, when NBC again aired the show, the Oscars have been on ABC.
Rob Reiner’s son Nick made his first court appearance on Wednesday on two counts of first-degree murder in the killing of his parents.
Wearing a suicide prevention smock and shackles, the 32-year-old did not enter a plea as he appeared from behind the glass wall of a custody area.
His next court appearance will be on 7 January.
As it happened: Nick Reiner makes first court appearance
Nick Reiner makes his first court appearance on murder charges in this courtroom sketch. Pic: Reuters/Mona Edwards
Nick Reiner spoke only to say, “yes, your honour” to agree to the date.
He was charged Tuesday with killing the 78-year-old actor and director Rob Reiner and his wife, Michele Singer Reiner, Los Angeles County District Attorney Nathan Hochman announced at a news conference.
Nick Reiner is being held without bail and could face the death penalty.
Along with the two counts of first-degree murder, prosecutors added a special circumstance of multiple murders, as well as an allegation that he personally used a dangerous and deadly weapon, a knife.
Speaking outside the court, Nick Reiner’s lawyer, Alan Jackson, called on the public not to “rush to judgement”.
Mr Jackson pointed to “complex and serious issues that are associated with this case” that needed to be thoroughly and “very carefully dealt with and examined”.
He added that it was a “devastating tragedy that has befallen the Reiner family”.
Rob Reiner, Michele Singer Reiner, Romy Reiner, Nick Reiner, Maria Gilfillan and Jake Reiner. Pic: JanuaryImages/Shutterstock
‘Unimaginable pain’
Nick Reiner’s two siblings Jake and Romy have released a statement, saying “words cannot even begin to describe the unimaginable pain we are experiencing every moment of the day”.
“The horrific and devastating loss of our parents, Rob and Michele Reiner, is something that no one should ever experience,” they said.
“They weren’t just our parents; they were our best friends. We are grateful for the outpouring of condolences, kindness, and support we have received not only from family and friends but people from all walks of life.”
The two asked for “respect and privacy” and for speculation to be treated with “compassion and humanity”.
Authorities have not disclosed a motive for the killings.
Rob Reiner and Michele Singer Reiner were found dead from apparent stab wounds in their home in the upscale Brentwood neighbourhood of Los Angeles.
The area near Rob Reiner’s home. Pic: AP
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Nick Reiner did not resist when he was arrested hours later near the University of Southern California, about 14 miles (22.5 kilometres) from the crime scene, according to police.
Rob Reiner was a celebrated director, whose work included some of the most memorable films of the 1980s and 1990s, including This Is Spinal Tap, The Princess Bride, When Harry Met Sally and A Few Good Men.
He met Michele Singer, a photographer, movie producer and advocate for LGBTQ+ rights, in 1989, while directing When Harry Met Sally.
Warner Bros is reportedly set to reject a hostile $108bn (£81bn) takeover bid from Paramount, with one of the prospective buyer’s financing partners confirming it’s pulled out of the offer.
A spokesman for investment firm Affinity, owned by Donald Trump‘s son-in-law Jared Kushner, told Sky News’ US partner network NBC News “the dynamics of investment have changed significantly”.
It had backed Paramount’s bid, along with funds from Saudi Arabia and other Middle Eastern countries.
Bloomberg and The Wall Street Journal report the Warner Bros Discovery board are set to advise shareholders to reject Paramount‘s bid – paving the way for Netflix, which had struck a $72bn (£54bn) deal.
If the takeover goes through, it would give the streaming giant the rights to hit Warner franchises like Harry Potter, Batman, and Game Of Thrones, as well an extensive back catalogue of classic films.
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Pic: iStock
It is the latest twist in a takeover saga where the winner will acquire a huge advantage in the streaming wars.
In June, Warner announced its plan to split into two companies – one for its TV, film studios and HBO Max streaming services, and one for the Discovery element of the business, which primarily comprises legacy TV channels that show cartoons, news, and sports.
Netflix agreed a $27.75 per-share price with the firm, which equates to the $72bn purchase figure deal to secure its film and TV studios, with the deal giving the assets a total value of $82.7bn.
However, Paramount said its offer would pay $30 (£22.50) cash per share, representing $18bn (£13.5bn) more in cash than its rival offered. The offer was made directly to shareholders, asking them to reject Netflix’s deal, in what is known as a hostile takeover.
The Paramount deal would involve rival US news channels CBS and CNN being brought under the same parent company.
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The US government will have a big say on the final deal, with the winning company likely facing the Department of Justice’s (DOJ) Antitrust Division, a federal agency which scrutinises business deals to ensure fair competition.
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