Entertainment

Paris couture climbs Mount Olympus, plumbs marine depths

Published

7 years ago

January 20, 2020

PARIS (AP) — Female empowerment, controversies about race, and designs that plunged to the depths of the seas then climbed Mount Olympus were just some of the themes to grace Paris Fashion Week on its drama-filled first day.

Here are some highlights of Monday’s spring-summer 2020 couture shows.

DIOR: WOMEN RULE AND GLIMMER

Dior’s first ever female designer, Maria Grazia Chiuri, is onto something.

Her feminist logo-emblazoned T-shirts have famously been among the house’s biggest sellers — and so she went back on the girl power charge to capitalize on this popular unique selling point in the Rodin Museum collection.

The starting idea was a question posed by the artist and set-designer Judy Chicago, blown up as text at the show: “What if Women Ruled the World?”

Chiuri’s answered it herself by basing the shimmering Greco-Roman designs around the theme of “The Female Divine.”

Though at several points Chiuri strayed into heavy-handedness, the overall result was an archetypally couture collection that harked back to the couture origins of draping and strapping.

Athena, the ancient warrior-goddess, was evoked in a tightly-strapped gold bodice and sections of gold fringing.

And the Hellenistic sculpture “The Winged Victory of Samothrace,” that stands in the Louvre, provided inspiration for long billowing silk skirts and rope-like straps that pulled tightly around the busts and waists of several looks.

But looks sometimes fell victim to their own ambition — such as an iron-colored goddess-version of the house’s signature bar jacket. Though it nicely captured a feeling of chain mail, accordingly, it proved clunky at the hips.

DIOR FRONT ROW

Alongside Uma Thurman, “Alien” star Sigourney Weaver, who’s rarely spotted on the fashion scene, led the celebrity pack.

Weaver, who’s known for her feisty and feminist roles, had something to say about couture — and Dior — empowering women.

“It is always an ideal,” she said, before entering the show.

“Haute couture is very strong, and assured, which I think women sometimes need help being as assured as we should be. And we need to have a little Christian Dior inside us to sort of step out, you know?”

SCHIAPARELLI’S PERFECT BALANCE

Daniel Roseberry seems to have the winning formula at Schiaparelli: Less is more.

The Texas-born designer managed on Monday to include all the Surrealist references of the late, great couturier Elsa Schiaparelli, without them straying into the kitsch or the overpowering — as has been the case in the past. He used them sparingly, carefully giving each bold object the necessary space to breathe.

A large gold earring resembling a human ear, for instance, was placed above a bare chest and dark tuxedo. Not only did that allow the statement earring to be the sole dominant feature, Roseberry very cleverly re-enforced the idea of the human body being literally on display. The same idea was repeated on a statement sheeny royal blue leopard skin print tuxedo twinned with the model’s bare skin.

The couture itself was simple, but deceptively so. A raisin – black tuxedo with four gold buttons had a monochromatic giant ruffled fabric hood that enveloped the model’s face. The design was visually arresting yet handled subtly as it was in a monochromatic dark hue.

In the final flourish, Roseberry tackled shocking pink — the color name Schiaparelli was said to have coined. What was shocking about it was its tastefulness, on, for instance, a giant dropped – waist full skirt that contrasted stylishly with a bodice in ultramarine, royal blue and a flash of orange.

Adding to reasons to love this show: 23 of the 36 looks were modeled by non-Caucasian models and women of color, in a rare moment on the Paris catwalk.

COMME DES GARCONS RACE CONTROVERSY

Comme des Garçons has ended men’s fashion week trying to defend itself against accusations of racism after its show last week by designer Rei Kawakubo featured white models wearing braided wigs.

Critics of the show, which AP didn’t attend and only saw photos of, said it smacked of racial appropriation as the wigs resembled hairstyles of the black community, and some black models in the same show walked with just their natural hair.

The hair stylist Julien d’Ys said on social media he was influenced by Tutankhamun and Ancient Egypt.

In a statement sent to AP, the house said “It was never , ever our intention to disrespect or hurt anyone – we deeply and sincerely apologise for any offense it has caused.”

Race is a hot topic at fashion weeks all over the world, after a host of recent controversies including an ad campaign by Dolce and Gabbana that was deemed racist against China.

IRIS VAN HERPEN

Another season of Dutch wunderkind Iris Van Herpen, another moment to delve into her unique world of visual poetry.

Floating jelly fish and skeletal underwater crustaceans are often evoked visually in the designer’s award-winning couture, but rarely referenced explicitly by the house as inspiration.

This season, that changed — it acknowledged that spring-summer’s designs channeled “the sensory processes that occur between the intricate composition of the human body, mirrored with the fibrous marine ecology of our oceans.”

It made for one of the designer’s most beautiful collections ever.

Twisted silk strands on a gown descended down a model’s body in pastel blues, grays and coconut white , like the tentacles of a deep – sea creature , with the floating feeling of suspended gravity.

A black floor – length gown with undulating straps could have been a poisonous medusa, with coral – red dye bleeding down its multi-layered skirt.

Toward the end, one of the most beautiful pieces of couture in memory appeared — a brilliant white structured three-dimensional gown made of thousands of interlocking petals of white fabric that evoked a swan, or perhaps a section of human bone under the microscope.

Entertainment

Dr. Phillips Center’s Free Frontyard Holiday Festival Returns to Downtown Orlando Nov. 27

Published

3 days ago

August 26, 2026

FNN NEWS

ORLANDO, Fla. (FNN) — The holidays are returning to downtown Orlando as the Dr. Phillips Center for the Performing Arts brings back its free Frontyard Holiday Festival, transforming the Frontyard and Seneff Arts Plaza into a holiday destination from Nov. 27 through Dec. 31.

The Frontyard Holiday Festival at Dr. Phillips Center, supported by AdventHealth, will feature nightly snowfall, live entertainment, holiday movies, themed nights, firepits, seasonal food and beverages, interactive experiences, light displays and performances by local artists and community groups.

Admission is free.

“This festival is part of our vision to create more free experiences in the Frontyard, one of the 1,000 annual free events planned as part of our master plan,” Dr. Phillips Center President and CEO Kathy Ramsberger said. “These events are designed to bring our community together while creating new opportunities that attract visitors and contribute to Orlando’s vibrant tourism economy.”

Nightly Snowfall Returns to Downtown Orlando

The festival opens Friday, Nov. 27, and runs through New Year’s Eve, giving Central Florida residents and visitors more than a month to experience the celebration.

Nightly snowfall will return as one of the festival’s signature attractions, along with holiday movie screenings and seasonal performances.

A rare musical attraction will also return this year: the only transportable carillon in North America.

The instrument features nearly four tons of bronze bells and will bring traditional holiday sounds to the outdoor festival.

Free Holiday Experience for Orlando Families

Organizers said the festival is part of the Dr. Phillips Center’s broader effort to increase free arts and cultural programming while creating a gathering place for residents and visitors in downtown Orlando.

AdventHealth returns as a major supporter of the event.

“The holidays invite us to slow down, reconnect and make memories with the people who matter most,” said Sharon Line Clary, AdventHealth’s senior vice president of community impact and partnership engagement.

Clary said the partnership is designed to help create a welcoming community space centered on celebration and connection.

Holiday Shows Coming Inside Dr. Phillips Center

The outdoor festival will coincide with a separate lineup of holiday entertainment inside the performing arts center.

The 2026 holiday schedule includes Lindsey Stirling, “The Nutcracker,” Vienna Light Orchestra, Irish Christmas in America, Straight No Chaser and “A Very Broadway Christmas.”

Other scheduled productions include “The Unauthorized Hallmarkish Parody” and “Adam Biner: A Jewish Boy’s Love Letter to Christmas.”

The lineup includes dance, orchestral music, comedy and other live performances throughout the holiday season.

More Festival Programming Coming

Additional details about performances, themed nights, movie screenings and interactive experiences are expected to be announced as the opening date approaches.

The festival is supported by AdventHealth, the city of Orlando’s Downtown Development Board, The Main Law Firm, OUC — The Reliable One, Massey Services Inc. and a donation from Neal and Jan Dempsey.

The project also receives funding from Orange County government through its Arts & Cultural Affairs Program.

Event Details

What: Frontyard Holiday Festival at Dr. Phillips Center supported by AdventHealth
When: Nov. 27-Dec. 31, 2026
Where: Dr. Phillips Center for the Performing Arts, Frontyard and Seneff Arts Plaza, downtown Orlando
Admission: Free

Entertainment

‘SPAMALOT’ Joins Dr. Phillips Center’s 2026-27 Broadway in Orlando Season

Published

3 weeks ago

August 10, 2026

FNN NEWS

Tony Award-winning musical will play Walt Disney Theater Nov. 3-5, 2026

ORLANDO, Fla. (FNN NEWS) — Dr. Phillips Center for the Performing Arts is expanding its 2026-27 Broadway in Orlando season with the addition of SPAMALOT, the Tony Award-winning Best Musical, scheduled for Nov. 3-5, 2026, at Walt Disney Theater.

Inspired by the classic comedy Monty Python and the Holy Grail, SPAMALOT brings Monty Python’s distinctly British humor to the stage through a comedic adventure following King Arthur and his quest for the Holy Grail.

The production comes to Orlando following a celebrated 2023 Broadway revival at the St. James Theatre, directed and choreographed by Josh Rhodes.

Monty Python Comedy Comes to Orlando

Described as “lovingly ripped” from Monty Python and the Holy Grail, the musical features British royalty, flying cows, dancing girls, shrubbery and the Lady of the Lake.

The 14-time Tony Award-nominated musical features well-known numbers including “Always Look on the Bright Side of Life,” “The Song That Goes Like This” and “Find Your Grail.”

SPAMALOT features a book and lyrics by Eric Idle, with music by John Du Prez and Idle.

Cast Announced for Orlando Production

The cast features Major Attaway, whose credits include Aladdin, as King Arthur; Sean Bell (Harmony) as Sir Robin; Chris Collins-Pisano (Forbidden Broadway) as Sir Lancelot; Ellis C. Dawson III (Hamilton) as Sir Bedevere; Leo Roberts (Les Misérables) as Sir Galahad; Amanda Robles as the Lady of the Lake; Blake Segal (Mary Poppins) as Patsy; and Steven Telsey (The Book of Mormon) as the Historian and Prince Herbert.

The company also includes Lindsay Lee Alhady, Delaney Benson, Jack Brewer, Connor Coughlin, L’ogan J’ones, Graham Keen, Claire Kennard, Ben Lanham, Nathaniel Mahone, Maddie Mossner, Emilie Renier, Mark Tran Russ and Meridien Terrell.

Creative Team

The production’s creative team includes scenic and projection designer Paul Tate dePoo III, costume designer Jen Caprio, lighting designer Cory Pattak, sound designers Kai Harada and Haley Parcher, and wig designer Tom Watson.

John Bell serves as music supervisor, with Jonathan Gorst as musical director and conductor.

Derek Kolluri is associate director, Michael Fatica is associate choreographer and casting is by Geoff Josselson, CSA. RCI Theatricals serves as general manager, and Jeffrey Finn is the producer.

Tickets on Sale Now

Single tickets for SPAMALOT are on sale now through Dr. Phillips Center.

Performances: Nov. 3-5, 2026
Venue: Walt Disney Theater at Dr. Phillips Center for the Performing Arts
Location: Orlando, Florida

Tickets and additional information are available through the Dr. Phillips Center website.

Central Florida News

Dr. Phillips Center Generates $227.6 Million Annual Economic Impact, Supports Nearly 2,500 Central Florida Jobs

Published

4 weeks ago

July 30, 2026

FNN NEWS

ORLANDO, Fla. (FNN NEWS) — The Dr. Phillips Center for the Performing Arts generated $227.6 million in annual economic impact, supporting 2,483 jobs and producing $13.2 million in state and local tax revenue, according to a newly released independent study by Tourism Economics.

The analysis, conducted by Tourism Economics, an Oxford Economics company specializing in economic impact and tourism research, measured the direct, indirect and induced economic activity generated by the arts center’s operations, performances, visitors and related spending throughout Central Florida.

The findings underscore the Dr. Phillips Center’s role as both a premier performing arts destination and a major contributor to the region’s economy.

“For more than a decade, we’ve seen firsthand how the arts inspire people, bring communities together and create lasting value,” said Kathy Ramsberger, president and CEO of Dr. Phillips Center for the Performing Arts. “This study confirms that our impact reaches far beyond our stages—supporting thousands of jobs, driving business growth, attracting visitors from around the world and helping position Central Florida as a more vibrant, competitive and connected region.”

Economic Impact by the Numbers

According to the Tourism Economics report, the Dr. Phillips Center generated:

$227.6 million in annual economic output
2,483 jobs supported across Central Florida
$70.8 million in total labor income in Orange County
$13.2 million in state and local tax revenue
$73.1 million in off-site spending by event attendees, performers and production crews
61,600 hotel room nights generated annually

The study highlights the ripple effect created by visitors attending performances, benefiting nearby hotels, restaurants, retailers and other local businesses.

A Global Destination for Arts and Entertainment

Now in its 11th year, the Dr. Phillips Center welcomes more than 910,000 guests annually, attracting visitors from all 50 states and more than 80 countries.

Since opening in 2014, the venue has hosted:

More than 6.2 million guests
More than 6,200 performances and events
Programming presented 99% of the year
Venue occupancy rates ranging from 82% to 97%

The center has become one of the world’s busiest performing arts destinations while helping position downtown Orlando as a leading hub for arts, culture and entertainment.

Community Investment Beyond the Stage

In addition to its economic impact, the Dr. Phillips Center continues investing in arts education, community outreach and cultural programming throughout Central Florida.

According to the organization, it has:

Served 935,920 students and community participants
Supported and hosted 202 regional arts organizations
Received support from 24,085 donors
Benefited from $256 million in philanthropic contributions since its inception

Through partnerships with schools, nonprofit organizations, community groups and touring productions, the center continues to expand access to the performing arts while strengthening the region’s cultural and economic vitality.

Looking Ahead

Eleven years after opening, the Dr. Phillips Center continues to demonstrate that investment in arts and culture produces measurable returns through tourism, employment, education and community engagement.

As Central Florida continues to grow, the independent analysis reinforces the performing arts center’s importance as both a cultural landmark and an economic engine for the region.

Additional information about the economic impact study is available through the Dr. Phillips Center for the Performing Arts.