UK slams Russian pranksters over Boris Johnson ‘Armenia’ call

Britain’s Foreign Office on Thursday criticized “childish” Russian pranksters who phoned Foreign Secretary Boris Johnson. (AFP)
Updated 24 May 2018
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UK slams Russian pranksters over Boris Johnson ‘Armenia’ call

LONDON: Britain’s Foreign Office on Thursday criticized “childish” Russian pranksters who phoned Foreign Secretary Boris Johnson posing as the leader of Armenia.
The Guardian newspaper said that Johnson was called by Alexei Stolyarov and Vladimir Kuznetsov, known as Lexus and Vovan.
One pretended to be new Armenian Prime Minister Nikol Pashinian, and the newspaper said that Johnson spoke to them for 18 minutes, discussing topics including the poisoning of ex-spy Sergei Skripal.
A recording of the call, said to have taken place last week, was posted on YouTube.
In the recording, Johnson says Britain is “almost 100 percent sure” President Vladimir Putin’s Kremlin ordered the attack on Skripal and his daughter Yulia. Moscow denies involvement in the incident, which has sparked a crisis in UK-Russia relations.
Johnson is also heard lamenting the poor state of UK relations with Russia, saying Moscow seems “unable to resist malign activity of one kind or another.”
The Foreign Office said Johnson “realized it was a hoax, and ended the call. We checked it out and knew immediately it was a prank call.”
“The use of chemical weapons in Salisbury and Syria and recent events in Armenia are serious matters,” it said in a statement. “These childish actions show the lack of seriousness of the caller and those behind him.”
Prime Minister Theresa May’s office said “obviously this shouldn’t have happened,” and announced there would be a government investigation into how the hoaxers got through to Johnson.
Britain suspects the comedy duo have backing from the Kremlin.
Stolyarov and Kuznetsov, who have fooled high-profile victims around the world, have denied links to Russia’s security services. In 2015, they phoned Elton John pretending to be Russian President Vladimir Putin, who had criticized the leader.


After conquering Broadway, ‘Hamilton’ eyes global tour

Updated 16 June 2019
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After conquering Broadway, ‘Hamilton’ eyes global tour

  • Created by Lin-Manuel Miranda, the show charts Caribbean-born Hamilton who rises through his smarts and determination to become a key military aide to George
  • The push for more overseas performances comes as “Hamilton” mania remains as strong as ever in its home market

NEW YORK: After triumphing on Broadway, the lower 48 states and London’s West End, “Hamilton” is eyeing its first non-English production as well as tours throughout Europe and Asia.
The much-decorated musical, currently being staged nightly in London and New York as well as four other US cities, last month announced plans to launch in Sydney in early 2021 in a production expected to tour Australia before going to Asia, its producer said in an interview.
The “Hamilton” team is also working with a German hip-hop artist and playwright to develop a German-language version of the work.
The show, which is performed by a mostly non-white cast and mixes pulsating rap numbers with ballads and traditional musical numbers, has been credited with invigorating Broadway, thrilling audiences of all ages and across the political spectrum.
Producer Jeffrey Seller told AFP he sees a lot of international interest in the show. Australians frequently stream its soundtrack, Germany has long been receptive to American musicals and a Mexico City show, perhaps in Spanish, is also a possibility.
“My hope is that our story is resonant to people all over the world as a story of revolution, as a story of ambition, as a story of self-realization,” said Seller, who has been called the “CEO of Hamilton Inc.”
“I think Alexander Hamilton’s journey is universal.”
The push for more overseas performances comes as “Hamilton” mania remains as strong as ever in its home market.
Created by Lin-Manuel Miranda, the show charts Caribbean-born Hamilton — introduced as “a bastard, orphan son of a whore” — who rises through his smarts and determination to become a key military aide to George Washington during the American Revolution and later the architect of the US financial system in the republic’s early days.
Hamilton was killed in a duel in 1804 by Aaron Burr, a foil throughout the show and the character who sings “The Room Where It Happens,” a jazzy show-stopper about political horse-trading.
Nearly four years after its Broadway debut, the show completely sold out during the just-ended 2018-9 season, garnering almost $165 million, or nine percent of Broadway’s total in a record-setting season.
Business is also brisk for three national touring companies, which typically perform three- and four-week stints in American cities of varying size.
The “Angelica” touring company — named for Hamilton’s sister-in-law in the musical — made its Louisville premiere earlier this month at the Kentucky Center. The venue seats 2,400, about 1,100 more seats than the musical’s Broadway home at the Richard Rodgers Theater.
Anticipation for the show boosted subscriptions for touring Broadway shows in Louisville this season by nearly 20 percent, said Leslie Broecker, Midwest president for Broadway Across America, who calls the show a “catalyst” in attracting new audiences.
Shannon Steen, a University of California professor specializing in performance studies and race theory, attributes the show’s domestic success to Miranda’s skill at blending musical genres while appealing to diverse political constituencies.
The show “confirms this idea that America can serve as a city on a hill for global democracy,” a theme that resonates with conservatives, Steen said.
At the same time, signature lines such as “immigrants get the job done” have emerged as applause points for critics of US President Donald Trump’s harsh immigration policies, which parallel similar debates in other markets.
The show’s themes about immigration “will likely not resonate in the same way (as in the US), but it will be interesting to see how those things are taken up by audiences in other countries,” Steen said.
International investments will be tailored by market. Seller expects an English-language version of “Hamilton” to play in Paris perhaps for an eight- or 10-week run as part of a European tour around 2022-23.
He said the French have not shown much hunger for past American musicals, but that this show — which features a prominent French character in the Marquis de Lafayette — could spawn a French-language version if it sells well.
But Germany has for years been a robust market for US musicals, including “Wicked” and “Lion King,” and “they have the population to support it for a long run,” Seller said.
Stephan Jaekel, a spokesman for Stage Entertainment in Germany, which has been overseeing auditions for “Hamilton,” said the aim is to open in the fall of 2020 in Hamburg, but that a final deal has yet to be signed.
“We much look forward to presenting it to German audiences and hope to be able to start ticket sales soon,” Jaekel said in an email.
Seller hopes to announce the show in the coming months.