Young women and girls in search of a new Broadway role model, look no further than the title character in sumtious fairy tale “Anastasia.". Ingrid Bergman (Swedish pronunciation: [ˈɪŋrɪd bˈærjman] ( listen); 29 August 1915 – 29 August 1982) was a Swedish actress who starred in a variety of. Internet’s best selections of movies you can watch online. Daily updated freshest sneak previews and trailers of upcoming movies. Watch movies online for free!

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Derek Klena Brings Your Childhood Crush to Broadway in ‘Anastasia’ Dimitri and Derek Klena Dreamworks/Polk. PRConsider yourself officially absolved for any of the weirdness of having a crush on an animated character: with his floppy hair and John Cusack voice, Dimitri, the rogue- ish St. Petersburg street rat who trains Anya to pose as the lost Princess Anastasia, was most certainly a babe. In a new Broadway production, Derek Klena (Dogfight, Wicked) takes on the beloved character (this time spelled with a “y”) in an adaptation that replaces the zombified- Rasputin as the villain with a slightly more historically accurate but equally sinister Bolshevik commander. The major plot points you remember from your childhood are still there—auditions for “a girl to be Anastasia, a mournful music box, a train ride gone wrong—but the tone is more “romantic journey of self- discovery” than “cursed singing grubs bouncing through the underworld.”And with a fuller storyline and brand new songs, Klena creates a Dmitry that’s just as crushable, but a little less… two- dimensional. Derek Klena with Christy Altomare at Hartford Stage Joan Marcus. So did you grow up watching the Anastasia movie?

Derek Klena: Yeah, I definitely grew up with the movie. It was a favorite of mine and my family. I feel like it was the Frozen of our generation; everyone would sing the songs—“Once upon a December,” “Journey to the Past…” I have a sister who’s two years younger than me, and she used to sing it for her recitals.

To have the adaptation of the musical come to fruition and to be a part of it, it’s kind of surreal. How is your Dmitry different from the animated character? I feel like I’ve been given the great privilege of having a new structure to the character, and also all of this amazing music that Dmitry didn’t have in the film. With Terrence Mc.

Nally’s new book and interpretation of the Romanoff story, it really is a completely different scope of the character that I’ve been privileged enough to work with. The trials and the journey that Dmitry goes on in our show are much different than the movie, and I think heightened. There’s a lot more to him in the stage version, and getting to play those layers and the different plot points he goes through has been exciting and freeing, and it’s allowed me to make him my own.

How do you think changing the villain from Zombie Rasputin to Gleb, the Bolshevik general, affects the show? I think it grounds the show in kind of an amazing way, and in a human way. It’s such a dark story at its heart, about this family who went through tragedy, and this country of people going through a lot of change.

I feel like having Gleb, and having these realistic elements, really sheds light on the tragedy that the Romanoff family went through, and makes the audience even more intrigued by Anya’s journey in finding herself and her family. Ramin Karimloo (Gleb) with Altomare and Klena Nathan Johnson. How was your experience originating a role different from getting to take on the role of Fiyero in Wicked? It was always a dream of mine to get to play Fiyero, so getting to have that experience as my Broadway debut, and not having the responsibility of originating that role, was a gift and a curse. I was super lucky to have that opportunity, to go into a show and not have that amount of stress. I just sort of fit into the puzzle, and away we went. But for Anastasia, you know, everyone has a dream of originating a Broadway musical because of the freedom that you’re given, and the developmental process; developing a character is a once- in- a- lifetime experience—working with the writers hands- on, getting new changes every day.

We did this in Hartford and now in New York, so to be on this journey and see it as a whole, and develop these characters basically from scratch, it’s just so fulfilling, and the responsibility that goes along with it, yes it’s stressful, but it’s so rewarding, and makes your job on stage just so exciting. People ask me what dream roles I want to play, and I really feel like I am living that dream. Dmitry is everything I want to express, and get to do on stage in my career. What about the Broadway musical do you think will be most surprising for fans of the movie? I just think how much it has grown. Not putting down any other adaptations of animated films, but I feel like, ours especially—there are 1. I think the amount of new score will surprise a lot of people, just how much they’ve expanded on the movie score.

There’s just a complexity that’s been given to the show that I don’t think people will anticipate seeing the movie: new plot points in the story, the darkness we’ve been able to bring to it, but still keeping family relevant. There’s a fantastical element to the movie, and we’ve worked so hard at humanizing, and making our show historically accurate, that I think people will be blown away.

Ingrid Bergman - Wikipedia. Ingrid Bergman (Swedish pronunciation: [ˈɪŋrɪd bˈærjman] ( listen); 2. August 1. 91. 5 – 2. August 1. 98. 2) was a Swedish actress who starred in a variety of European and American films.[1] She won three Academy Awards, two Emmy Awards, four Golden Globe Awards, a BAFTA Award, and the Tony Award for Best Actress. She is best remembered for her roles as Ilsa Lund in Casablanca (1. Alicia Huberman in Notorious (1. Alfred Hitchcock thriller starring Cary Grant and Claude Rains.[2]At her insistence, producer David O.

Selznick agreed not to sign her to a contract—for four films rather than the then- standard seven- year period, also at her insistence—until after Intermezzo had been released. Selznick's financial problems meant that Bergman was often loaned to other studios. Apart from Casablanca, her performances from this period include Victor Fleming's remake of Dr. Jekyll and Mr. Hyde (1. For Whom the Bell Tolls (1. Gaslight (1. 94. 4), and The Bells of St.

Mary's (1. 94. 5). Her last films for Selznick were Alfred Hitchcock's Spellbound (1. Notorious (1. 94. Her final film for Hitchcock was Under Capricorn (1. After a decade in American films, she starred in Roberto Rossellini's Stromboli (1.

The affair and then marriage with Rossellini created a scandal in the US that forced her to remain in Europe for several years, after which she made a successful return to working for a Hollywood studio in Anastasia (1. Academy Award but which was entirely filmed in Britain and Europe.

Although she made many films for Hollywood studios in subsequent years, they were all made in Europe and she did not actually film in Hollywood again until 1. Many of her personal and film documents can be seen in the Wesleyan University Cinema Archives.[4]According to the St.

James Encyclopedia of Popular Culture, Bergman quickly became "the ideal of American womanhood" and a contender for Hollywood's greatest leading actress.[5] In the United States, she is considered to have brought a "Nordic freshness and vitality" to the screen, along with exceptional beauty and intelligence; David O. Selznick once called her "the most completely conscientious actress" he had ever worked with. In 1. 99. 9, the American Film Institute ranked Bergman as the fourth- greatest female screen legend of classic American cinema. Early years[edit]Bergman was born on 2. August 1. 91. 5 in Stockholm, to a Swedish father, Justus Samuel Bergman (2 May 1. July 1. 92. 9),[6] and his German wife, Friedel Henrietta Augusta Louise (née Adler) Bergman (1.

September 1. 88. 4 – 1. January 1. 91. 8), who was born in Kiel.[7][8] Her parents married in Hamburg in 1. She was named after Princess Ingrid of Sweden. She mainly grew up in Sweden, but spent the summers in Germany, and spoke fluent German.[1. When she was two years old, her mother died. Her father, who was an artist and photographer, died when she was 1.

In the years before he died, he wanted her to become an opera star, and had her take voice lessons for three years. But she always "knew from the beginning that she wanted to be an actress," sometimes wearing her mother's clothes and staging plays in her father's empty studio. Her father documented all her birthdays with a borrowed camera.[1. Watch The Hot Potato Online more. Her first film, Munkbrogreven (1.

After his death, she was sent to live with an aunt, who died of heart disease only six months later. She then moved in with her Aunt Hulda and Uncle Otto, who had five children. Another aunt she visited, Elsa Adler, whom Ingrid called "Mutti", reportedly told a family legend to the 1. Charlotte Chandler's biography of Ingrid Bergman, that her mother may have had "some Jewish blood."[7]: 2. One of Bergman's biographers, Aleksandra Ziolkowska- Boehm, however, believes the claim was likely an embellishment. After doing an in- depth genealogical investigation, Bergman's maternal cousin found no Jewish ancestry on Bergman's mother's side. Furthermore, an investigation of Bergman's ancestry in 1.

German company Universum Film found only non- Jewish ancestors.[1. Later, she received a scholarship to the state- sponsored Royal Dramatic Theatre School, where Greta Garbo had some years earlier earned a similar scholarship.

After several months she was given a part in a new play, Ett Brott (A Crime), written by Sigfrid Siwertz. Chandler notes that this was "totally against procedure" at the school, where girls were expected to complete three years of study before getting such acting roles.[7]: 3. During her first summer break, she was also hired by a Swedish film studio, which led to her leaving the Royal Dramatic Theatre after just one year, to work in films full- time. Her first film role after leaving the Royal Dramatic Theatre was a small part in Munkbrogreven (1.

Landskamp). She went on to act in a dozen films in Sweden, including En kvinnas ansikte, which was later remade as A Woman's Face with Joan Crawford, and one film in Germany, Die vier Gesellen (The Four Companions) (1. Hollywood period: 1. Intermezzo: A Love Story (1. Bergman's first acting role in the United States came when Hollywood producer David O. Selznick brought her to America to star in Intermezzo: A Love Story (1. English language remake of her earlier Swedish film Intermezzo (1. Unable to speak English and uncertain about her acceptance by the American audience, she expected to complete this one film and return home to Sweden.

Her husband, Dr Petter Lindström, remained in Sweden with their daughter Pia (born 1. In Intermezzo, she played the role of a young piano accompanist opposite Leslie Howard as a famous violin virtuoso. She arrived in Los Angeles on 6 May 1. Selznick home until she could find another residence.

According to Selznick's son, Danny, who was a child at the time, his father had a few concerns about Ingrid: "She didn't speak English, she was too tall, her name sounded too German, and her eyebrows were too thick."Bergman was soon accepted without having to modify her looks or name, despite some early suggestions by Selznick.[7]: 6 "He let her have her way," notes a story in Life magazine. Selznick understood her fear of Hollywood make- up artists, who might turn her into someone she wouldn't recognize, and "instructed them to lay off". He was also aware that her natural good looks would compete successfully with Hollywood's "synthetic razzle- dazzle".[1. During the following weeks, while Intermezzo was being filmed, Selznick was also filming Gone with the Wind. In a letter to William Hebert, his publicity director, Selznick described a few of his early impressions of Bergman: Miss Bergman is the most completely conscientious actress with whom I have ever worked, in that she thinks of absolutely nothing but her work before and during the time she is doing a picture ..

She practically never leaves the studio, and even suggested that her dressing room be equipped so that she could live here during the picture. She never for a minute suggests quitting at six o'clock or anything of the kind .. Because of having four stars acting in Gone with the Wind, our star dressing- room suites were all occupied and we had to assign her a smaller suite. She went into ecstasies over it and said she had never had such a suite in her life .. All of this is completely unaffected and completely unique and I should think would make a grand angle of approach to her publicity .. With Humphrey Bogart in Casablanca. Intermezzo became an enormous success and as a result Bergman became a star.

The film's director, Gregory Ratoff, said "She is sensational," as an actress. This was the "sentiment of the entire set," writes Life, adding that workmen would go out of their way to do things for her, and the cast and crew "admired the quick, alert concentration she gave to direction and to her lines."[1.