Washington
Breaking Baz: Denzel Washington & Jake Gyllenhaal Task Up-And-Comer Molly Osborne To Make Broadway Debut As Desdemona In ‘Othello’
EXCLUSIVE: Deadline can reveal that Denzel Washington and Jake Gyllenhaal will be joined by fast-rising West End actress Molly Osborne, who will play Desdemona opposite them, in the spring 2025 Broadway revival of Shakespeare’s Othello.
Upon seeing Osborne’s audition tape, Washington and others were so impressed that they are said to have expressed a keenness to cast her immediately.
Washington, soon to be seen in Gladiator 2 with Paul Mescal, will play the title character, while Gyllenhaal, currently starring in the Presumed Innocent series on Apple TV+, will take on the part of the manipulative Iago.
Othello producer Brian Anthony Moreland confirmed that both stars had seen Osborne’s reel, and pointedly reasoned that “obviously she wouldn’t be doing it if they hadn’t” seen it and approved her.
Moreland explained that he, director Kenny Leon and casting director Duncan Stewart of ARC Casting searched widely for an artist to perform alongside Washington and Gyllenhaal.
“The role is such a heavy role in the canon of Shakespeare’s work,” Moreland remarked, and he understood that whoever was cast as Othello’s wife would be working with great “beasts,” as he put it, of the stage.
“I call them people who eat the stage, people who you can’t take your eyes off them,” Moreland exclaimed. “They devour every single moment that they’re there. They make multiple notes out of that one note,” he said, adding that on a hunch he decided to look at actors in London.
He started looking at Olivier Award-winning people, and then at who else was in their category and “well, who was their understudy? Who was their standby? Who else, who replaced them?”
Moreland smiled, then said, ”And the name that kept popping up was Molly, Molly, Molly, Molly!”
As Moreland and his colleagues reached out to more of their theatre colleagues in London, he kept hearing the same chants.
Moreland contacted Osborne’s manager, Steven Kavovit at Thruline Entertainment and her longtime London agent Lou Coulson at Lou Coulson Associates.
Osborne, who made her London theatre debut as Tzeitel in an acclaimed revival of Fiddler on the Roof — directed, beautifully, by Trevor Nunn at the Menier Chocolate Factory (it later transferred into the West End’s Playhouse Theatre) — put herself on tape.
Leon watched it, Moreland said. “Kenny immediately called back and said, ‘That’s her!’ And I said, ‘I agree. That’s her.’ Kenny got on a plane, he went over to visit her. And he called as soon as he was done meeting with her and said, ‘That’s our Desdemona.’ That’s how we got her,” said Moreland, who was a producer of the superb 2019 production of Sea Wall/A Life that starred Gyllenhaal and Tom Sturridge at the Hudson Theatre.
More recently, Moreland produced The Piano Lesson with Samuel L. Jackson, Danielle Brooks and John David Washington, and the current revival of The Wiz at the Marquis Theatre.
In a statement, Leon said, “I am so excited to welcome Molly Osborne to our Broadway cast of Othello as ‘Desdemona.’ Her unique blend of heart and intellect, coupled with a natural vulnerability, makes her a truly captivating actress. I am thrilled to welcome her to our theatre community and eagerly anticipate collaborating with her on her Broadway debut.”
Osborne let out a huge sigh of relief when we met for breakfast on a recent sunny morning at the Dean Street Townhouse in Soho. “I’ve sort of been keeping it under wraps for so long,” she said, smiling brightly.
She told how Kavovit, her manager, contacted her about making an audition tape.
“This one just came through as a tape and as always, these things are so exciting,” but she didn’t expect anything to come of it. “You send the tape, and then forget about it, as lots of people do,” she said, noting that several months prior she had flown to New York to audition in person for something else, which she didn’t get.
For her Othello tape she read from Shakespeare’s As You Like It. “I just focused on the text and the language and on harnessing the poetry,” she said, and she recited a poem and told a funny story, all of which clearly resonated with Moreland and Leon — and Washington and Gyllenhaal.
A few weeks later, Leon was in town and had arranged to meet with Osborne at Coulson’s office.
However, Osborne spotted Leon, per chance, the night before at the West End opening of (Broadway-bound) The Picture of Dorian Gray, which starred the incredible Sarah Snook, where she was helping out the show’s Story House PR press team doing vox pop interviews on the red carpet.
It’s just one of many jobs the hard-working thespian takes on in between acting work.
Leon directed Washington previously in the 2010 Fences produced by Scott Rudin (Washington won the best actor Tony], and they teamed again on the 2014 production of Raisin in the Sun for which Leon took the Tony for best director of a play.
The director talked with Osborne at Coulson’s office the following day.
“We had a really nice chat and we said goodbye,” Osborne recalled.
It was several weeks before she heard from her manager who informed her that there might be a chemistry test with Washington and Gyllenhaal. When she didn’t hear back about that, she was resigned to thinking that it wasn’t to be.
Weeks went by until one day, when she was in Coulson’s office, she heard that Leon and Moreland had cast her as Desdemona.
She was in a daze for two days “before I then burst into tears,” Osborne said.
It’s a breathtaking moment for an actor who has never had her name up in lights before. And it’s hard to recall the last time a promising Brit was catapulted across the Atlantic to star in play opposite not one but two enormous Hollywood stars, who, by the way, are as at home on stage as they are on the big screen, often more so.
To be sure though, to paraphrase Presidential hopeful Vice President Kamala Harris, Osborne earned it before she won it.
Osborne, a native of Wivenhoe in north-eastern Essex, near Colchester, had a love for performing at a young age. With her parents’ encouragement, she moved to London at the age of 18 to study musical theater at the celebrated Trinity Laban Conservatoire of Music and Dance.
Her first role after graduating was in Nunn’s superb production of Fiddler on the Roof. The famed director, a former artistic chief of the Royal Shakespeare Company, makes his actors rigorously investigate the text as thoroughly as if they would a play by Shakespeare.
She later returned to the Menier Chocolate Factory to play Chana in Paula Vogel’s Indecent directed by Rebecca Taichman. Recently she has appeared in the world premiere musical adaptation of F. Scott Fitzgerald’s The Curious Case of Benjamin Button directed by Jethro Compton at the Southwark Playhouse.
She has also appeared in PBS’ Call the Midwife and she has a role in the Prime Video series Anansi Boys, based on a Neil Gaiman graphic novel.
Her parents are artistic, she described her father as being “musical,” but they never went into the business. And her 94-year-old grandfather “still enjoys singing along to Frank Sinatra.”
At school Osborne would do plays, and she was lucky enough to have a bunch of singing lessons. “My parents would drive me back from rehearsals and they really encouraged my passion,” she said.
I’m lucky to have seen several of her stage performances and she has always stood out. When I first saw her in Fiddler on the Roof, I remember writing down her name and made a point of keeping up with her career, as I do with scores of other future stars.
Osborne’s prepping, whenever she gets the opportunity, for her Broadway debut next year. She has read and re-read Othello to help her get inside Desdemona’s head and she has explored the psychology of love, jealousy, evil and race, the themes Shakespeare explored in the tragedy. She also visited the Imperial War Museum to help her try and understand men of war who are at war with themselves.
A video call is being planned when all the roles have been cast (some exciting names are being talked about) for the company to “meet” ahead of rehearsals early in the new year.
“I’ve been told to be ready to be in New York from January. I can’t wait to meet them and dive into it,” Osborne enthused.
“We’re delighted to have Molly,” Moreland said.
Othello will open at a yet to be announced Shubert theater in the spring.
Washington
GOP Controlling Washington Means It’s Christmas for Lobbyists | Opinion
About 13,000 registered lobbyists plied their trade in Washington last year, at a total cost of more than $4.2 billion. Most represent industry groups ranging from the Chamber of Commerce to Big Pharma to Big Tech to oil, gas, and chemical producers. This holiday season, they have a golden opportunity to score big gifts for their clients and themselves through an obscure law only known to Washington insiders.
The Congressional Review Act allows a new lineup in the House, Senate, and Oval Office to repeal regulations issued during the last few months of the previous presidential administration with a simple majority vote (no filibuster) and a maximum of ten hours of floor debate (often much less). Historically, it has only really worked when Republicans take over the presidency, the House, and the Senate, and decide to destroy the work of a Democratic administration. The last time Donald Trump was president, Republican lawmakers eliminated 15 rules with little fuss and not much publicity.
The process is designed to allow Republican lawmakers, with almost no effort, to eliminate protections that took years to write. Prominent law firms and consultants are already working to sell lobbying campaigns to their clients. The law only applies to rules issued during the final 60 days that Congress is in session, and we don’t know when the House and Senate will adjourn. But this uncertainty is not stopping lobbyists from drumming up lucrative work.
This year’s list of rules to kill is chilling, targeting everything from pay increases for teachers at Head Start to limits on teenage smoking to drinking water purification. President-elect Donald Trump’s highly successful efforts to dominate the national news has so far masked these potentially destructive lobbying efforts.
Head Start provides early education for children from low-income families and focuses on their cognitive, social, and emotional development. Research shows that the program has produced great benefits for the children who are enrolled, preparing them for primary school where they would otherwise flounder. The program costs are modest, with funding of $12 billion last year.
The rule under attack was issued in August and would raise the salaries of Head Start teachers and improve their working conditions. Like Trump’s threatened Medicaid cuts, cancelling this rule would hurt people who need government help the most. Notably, the complete elimination of Head Start was among the radical proposals contained in the far-right Project 2025. Unknown industry players support this radical change to curry favor with the incoming administration.
Next up in the fight to shrink government is the age limit on buying cigarettes and smokeless tobacco. The targeted rule raises the age from 18 to 21. The Food and Drug Administration’s apparent sin here was following congressional instructions set out in a 2019 law.
If this rule experiences a rapid death, many members may not realize the significance of reversing a decision they made a mere five years ago. Because manufacturers deliberately add addictive nicotine to cigarettes, people who start smoking in adolescence most often do not quit. Smoking during childhood causes severe health problems, including the onset of respiratory disease, decreased physical fitness, and problems with lung growth.
Other regulations under scrutiny include an Environmental Protection Agency rule that would require the replacement of an estimated 9.2 million lead water pipes serving older housing and distribution systems across the country. The CDC advises that no safe level of lead is known for children under six, who can suffer brain and kidney damage when exposed to even minute amounts of lead.
Methane is released into the air from a variety of sources including facilities that produce oil and natural gas. It is 28 times more potent than carbon dioxide in causing climate change and causes one-third of the warming produced by human emissions of greenhouse gases. A rule being targeted by oil and gas producers would impose a fee for excessive emissions, as required by the 2022 Inflation Reduction Act. In our hearts, most Americans have a sense that something is very wrong with the climate, as we watch drought, floods, and wildfires overcome communities across the country. If this rule is swept from the books and we take no further action to reduce emissions, conditions will grow intolerable.
Of course, one response to this prediction of doom and gloom is that when a majority of Americans become disgusted enough, they’ll elect different politicians who will resurrect the rules. But the Congressional Review Act has a wrinkle that is even more destructive than sweeping the rules into the garbage with no debate. It is commonly referred to inside the Washington Beltway as “salting the earth.”
Once a rule is killed, an agency is forever barred from writing a new rule that is “in substantially the same form” as the vetoed rule. The first rule killed under the act was an effort under the Clinton administration to prevent ergonomic injuries in a variety of jobs, from meatpacking to manufacturing to health care. The Bureau of Labor Statistics found that 30 percent of injuries that caused employees to miss work were ergonomic injuries.
Ever since, the Occupational Safety and Health Administration has been too intimidated to try regulating this serious harm. Today we run the risk of other agencies being similarly deterred from making common-sense rules. Head Start may not get support for its teachers and other staff; teen smoking may increase; lead may remain in drinking water; and climate change may reach a breaking point unless and until Congress comes to its senses.
Rena Steinzor is professor emerita at the University of Maryland Carey Law School. James Goodwin is the policy director at the Center for Progressive Reform.
The views expressed in this article are the writers’ own.
Washington
Washington Fire Department adds food drive to annual Santa parade
WASHINGTON (25News Now) – A new tradition was born in the Town of Washington Thursday night, on top of one that’s already been going for 11 years.
The city’s fire department used its annual Santa parade as an opportunity to collect food donations for ‘Washington Helps Its People,’ more commonly known as WHIP.
Fire Captain Jakob Spitzer said the department started its annual Santa parade in 2013 after the tornado tore through town. It was a way to reconnect with neighbors after the tragedy.
As the number of spectators grows each year, the acts of service have started to follow.
“It’s a perfect opportunity for families to come together, to donate, and to give during this Christmas season,” Spitzer said.
WHIP hosts a food pantry twice a month, serving nearly 200 families. However, one volunteer, Sharla Davis, says the number of people in need has recently grown, making community involvement more important.
“Our demand is greater, so our community is really just stepping up. This is a great way that people can just donate from right out of their house; they don’t have to drive the donation to us, they don’t have to send us a check, they can just walk out their door, say hi to Santa, and be able to put food on the truck,” said Davis.
This year marks the first time the firefighters have added the WHIP Collection to the tradition, and they said they’ll continue it from here on out.
During Thursday’s 11-mile parade route, WHIP leaders estimate people donated over 3,000 pounds of food, including canned vegetables, cereal, and crackers.
People interested in donating but missed the collection or the fire trucks didn’t drive down their street can drop off nonperishable items at either the fire department or WHIP off Peoria Street.
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Washington
Preview: December 20 at Washington | Carolina Hurricanes
WASHINGTON, D.C. – The Carolina Hurricanes start a three-game road trip in the nation’s capital on Friday night against the Washington Capitals.
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When: Friday, December 20
Puck Drop: 7:00 p.m. ET
Watch: FanDuel Sports Network South, FanDuel Sports Network App | Learn More
Listen: 99.9 The Fan, Hurricanes App
Odds at Time of Publishing, via Fanatics Sportsbook: Canes -140
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Canes Record: 20-10-1 (41 Points, 3rd – Metropolitan Division)
Canes Last Game: 4-0 Win over the New York Islanders on Friday, December 17
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Capitals Record: 21-8-2 (44 Points, 2nd – Metropolitan Division)
Capitals Last Game: 3-2 Loss to the Chicago Blackhawks on Tuesday, December 17
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