The Tale of Two Sisters: Sonam & Rhea Kapoor

Rhea Kapoor Reveals Some Secrets About Sonam and Herself.

Rhea With Sis Sonam Kapoor

One is obsessed about food, the other about fashion. One doesn't mind showing her dirty feet and hates makeup, the other is glamorous. They are two young Bollywood sisters who seem as different as chalk from cheese, and yet, Rhea and Sonam Kapoor share not just clothes but also space. "Sonam and I share each other's clothes a lot. Her style is a little more glamorous. I like simpler things. But she always takes my things," Rhea, 23, who has produced the movie Aisha that stars 25-year-old Sonam, told IANS.

"You know how girls always need pieces to mix and match everything. I buy only those things...jackets and plain pants. And Sonam buys ridiculous things; she obviously can't wear a ridiculous thing and go for coffee. So she just takes my things all the time," said Rhea.

"But thank god we don't have the same foot size. I am 37 and she is 39. She is like giant, so she can't take my shoes," she added with a bout of laughter.

Unlike Sonam, Rhea likes to sit with her legs on the sofa and is not bothered about what her hair looks like. She "hates" makeup and hasn't visited a parlour for a manicure since a year.

"I haven't done a manicure in a year. I don't like people touching my hands. My feet are not even pedicured...I randomly clean them," Rhea said while raising her right foot to show her dirty feet.

"Sonam is obsessed with spas; she loves getting her nails done and stuff. She always wants me to go to a parlour with her. For her Saawariya premiere...she told me - 'You're not coming to the premiere with these cuticles; they look disgusting!' " said Rhea.

Nevertheless, Rhea too is quite stylish. She also opts for the best of high street fashion labels and likes to mix and match them with her mother's jewellery.

But more than fashion, it's food that Rhea is obsessed with.

"I am obsessed about food. I constantly eat. My whole focus is always on food. I can't wear skirts and shorts any more because my legs are so heavy. I haven't gone to a gym in a long time. Every move of mine revolves around my next meal. I plan my whole day according to my food," Rhea says.

However, Rhea calls Sonam a "junkie".

"Sonam is not like me when it comes to eating. She is more of a junk addict. She eats every sort of junk...chips, chocolate, biscuits...give her a book and one packet of Hide & Seek biscuits...it will be over in seven minutes. But I am a proper foodie...I need my appetizers, soup, meal and desserts," she reveals.

Meanwhile, Rhea has plans to take over production from her father, veteran actor Anil Kapoor.

"I am going to take over from dad. There are some interesting, really fun projects that I am working on. But obviously my whole focus is on Aisha right now," she says.

Rhea, who was assistant director in Wake Up Sid, says direction might be an option for her in future.

"I want to direct, but there's still a lot of time for it. It is just too much responsibility to direct a project and I am too young and immature for it. All I know is after working on Wake Up Sid and Aisha, there's no way in hell that I want to act," she says.

And why is that?

"When you grow up with a father who is an actor and a sister who is an actress, it's not a faraway thing. I know the realities of being an actress. I know what it's like to be an actor and I don't want to do it. That's all.

"And especially after I worked on Wake Up Sid, I found the whole process of being behind the camera very interesting. Besides, I am too much of a control freak to just say my lines and go away. Nah! No acting for me," she concludes.

Aisha, based on Jane Austen's novel Emma, is scheduled for an Aug 6 release.

This Is Just to Say

I have enjoyed
the actors
that came in
to callbacks

and who
were probably tense
over
its oddness.

Forgive me
I cannot cast you all
so brave
and so totally awesome.

Short post here just to touch on the callbacks for our next Zuppa del Giorno show, the which I'll be directing. They have taken place this week, and after a little more coordinating and ruminating we should have our third performer. This was effectively my first time on the other side of the table in an audition process, and I learned a lot from it (possibly at the expense of the actors involved?), both as someone conducting an audition process and as an actor in said audition. More anon on that. (I'm really racking up the promised 'blog topics here.)

This post is really just to say that everyone who came in was awesome. It was an extremely unconventional callback process, due to the developmental and improvisational nature of the show, and each actor handled it with style. See if this doesn't terrify you: We set out a table of assorted random objects, and had people in two-at-a-time. The game they played was to tell a story between them, with one person verbally telling the story and the other telling it physically. They could use any of the "props," and at any time they could switch positions, yielding their vocal or physical storytelling to the other, or swooping into the other role. And they just kept going until I said, "Scene."

Tough, no? Awful, really, for people psyched to have an opportunity. If I could have come up with any other way to find out what we needed to know, I would have done that. But I wish you could have been there, Dear Reader, because what everyone did was unique and effective and inspiring. So, thanks, Auditioners. I would like to take you all out for milk and cookies.

Shweta Nanda Walks The Ramp For Designers Abu-Sandeep at The Delhi Couture Week

Amitabh Bachchan's daughter Shweta Nanda and Australian cricketer Brett Lee walked the ramp for the designer duo Abu Jani-Sandeep Khosla at the finale of Couture Week in Delhi on Sunday evening. Guests like Steve Waugh, Suzanne Roshan, Dimple Kapadia, Rinkie Khanna, Nikhil Nanda, Nitasha Nanda, Shobaa De, Shahnaz Hussain among others were spotted on the front row.

Amithab Bachchan's Daughter Shweta Nanda at the finale of The Delhi Couture Week

Big B's Daughter Shweta Nanda Walks The Runway For Designer Duo Abu Jani-Sandeep Kosla at The Delhi Couture Week – Grand Finale Show

Sweta Nanda Walks The Ramp For Abu-Sandeep.

Shweta Bachchan Nanda

Abu Jani and Sandeep Khosla with Shweta Nanda and Brett Lee



Shweta Nanda with husband, businessman Nikhil Nanda at The Delhi Couture Week

Shweta Nanda , daughter of megastar Amitabh Bachchan and Aussie cricketer Brett Lee provided a a perfect ending to the Delhi Couture Week, gracing the runway for the finale show by designer duo Abu Jani and Sandeep Khosla.

It is no secret that the designers are a hot favourite of the Bachchan family and Shweta, donning a three-dimensional lotus motif dress, carried off herself gracefully on the ramp last night while Brett, wearing a beige dhoti and off-white sherwani showed the world that his skills go beyond the popping crease.

"I loved the drama, the dazzle and the lotus. It makes you feel special and the clothes gave me the confidence," Shweta said after the show.

Echoing similar sentiments, Lee who also launched his fashion label at the couture week, said, "I am honoured to walk the ramp for them and they have used amazing materials".

"I'll wear this dress when I play against India next time," he jokingly said.

Jani and Khosla, returning to capital after four years paid a tribute to Hollywood glam dolls Madonna, Lady Gaga and Kylie Minogue, with their collection, ALMOST 24.

"For the first time we have tried to be experimental,funky and avant-garde with a new concept. We thought it would be fun and the response has been good. Its timeless elegance meets here and now, in your face, rock chick glamour," said Jani.

"This is 21st Century India in all her myriad glory.There's all the tehzeeb of the past tinged with a tongue in cheek nonchalance," said Khosla.

The designers admit they prepared for the show in 12 hours and the dancers on the ramp made it all the more special, though they wanted to have them in more numbers.

The sensual collection had saris, empire line jackets,and gowns.The collection was divided into three parts Abaan which had multi coloured floral thread embroidery with bling, Sonaar which payed homage to Sonar Kella, the book and film by Satyajit Ray and 'Shabb' which had a monotone of Gothic black forms.

Cheering the designer duo in the front row were celebrities like Dimple Kapadia, Rinki Khanna, and Shobha De.

The Southampton Writers Conference

I had no idea this thing existed until I was invited by The Ensemble Studio Theatre (thanks entirely to Tom Rowan) to participate as an actor this year. But that's what a lot of my acting career is like, so it's tough for me to judge whether or not I should have heard of it.

Imagine you're at a party where you don't really know anybody. You're supposed to be there, and yet no one would miss you for a moment if you slipped out the door. People are buzzing about, trying to connect with very specific intentions, and tremendous drama and change is unfolding all around you. You, meanwhile, are just sort of holding your arms out, hoping someone will pick up on your invitation to a hug. That, my friends, is an apt metaphor for my experience as a career actor, my general attitude toward parties, and frankly the beginning of my experience here at The Southampton Writers Conference.

It was cool, I don't mind telling you. I am a huge writing nerd, and love excuses to hear writers talk about their work and processes. I've been to another writers' conference twice before, the CVWC in upstate, both times as something of a tourist. I was just a shade closer to being an actual participant this time, working there as an actor for their playwrights, which means I get to attend readings and rub elbows with Emily Mann and - yes - spend a little time cloistered away in my room working on my own playwriting. Pretty sweet, and those strange party feelings always fade eventually (but must they always appear in the first place, galdurnitall?). More on that in a future post, I think.

To sum it all up (because Blogger ate a good three paragraphs that it told me it had saved yesterday [Blogger, you jerk][just kidding love you mean it never change]): social difficulties were surmounted, the quality of work was astounding, and the level of talent of my fellow actors was simply inspiring. I'm not just blowing positive-attitude smoke here. Without dropping names, the actors I got to work with were - across the board - professional, talented and fun. Most all of them were working, many you'd probably recognize, and just about all of them (with the exception of me and I think two others) had some previous association with EST. So in some small way, I checked off a personal goal in getting to work with that theatre (see 11/17/08). I hope, of course, to work with them again someday.

The work itself involved reading two plays twice - Tom's Burning Leaves and Ben Rosenthal's Neptune Kelly - in a cycle in which the first reading gave the playwrights material with which to revise, and the second came after two days' revisions and a brief rehearsal period, and was presented to whomever from the conference wished to attend. It was a good structure, and left us with time to sit in and do readings for Emily Mann's playwriting workshops, and on Saturday night her attendees presented some of their work to the rest of the conference in the form of our performing readings of about five minutes of each playwright's in-class creations. Any time I had spare from this schedule was generally spent in my room mulling over and revising my own much-neglected play-in-progress Hereafter.

(PS and also: Dear Reader, I'm certain that if the occasion arises in which I announce I'm going to once again write a bunch of interconnected scenes and see if after-the-fact they can be melded into a cohesive whole, you will of course come to my apartment, knock on my door and, when I open it, shout "NOT AGAIN," and punch me square in the nose. Hard. Because you love me. Anyway: I'd appreciate it if you could.)

It was interesting to be working on Burning Leaves again, particularly because I felt it was already a rather finished product the last time I performed it in November of 2008. Tom, fortunately, is a much smarter playwright than I, and had already made some significant cuts to the play before I read it again for the conference. In particular, he cut a monologue for my character in which he explains what traumatic series of events led to his fleeing New York. He had gotten feedback suggesting that this was one of the more irresponsible and less admirable things the guy does, sharing the burden of such personal history with his student. I missed it of course - it was a heart-breaking story to tell - but a great edit. In the course of the week Tom did more to streamline the play and adjust the balance of ethics and plot logic between characters, and I felt good about the final reading. I always want to do better, but I felt good. Again: my fellow actors were amazing; just committed and specific and true as all git-out.

Neptune Kelly is a cracker of a script. I had zero experience with this one before they sent it to me, and I have to admit that on first read I flinched a bit from it. It has a combination of earmarks of the kind of material I'm usually not too keen on: highly stylized, allegorical, verbose. Normally this makes for the sort of trying-too-hard off-off-Broadway showcase that's out there to MAKE a STATEMENT. As soon as we got in the room, though, I knew I had let prejudice in on my initial judgment, because the play rocks. It's not as allegorical as it first may seem - for one, it doesn't wrap anything up neatly - and the beauty of its verbose style is that it stems from committed, crisis-filled characters. It's funny, bold and poetic in the least pretentious way, and we had a ball with it. I had only one scene in Neptune Kelly (once again playing a teacher, somehow) but it sort of made up for my lost monologue in Burning Leaves, being an explanatory story for why my character committed and extreme and self-destructive act. I got to make this vaulting little journey from resolution to profound regret over a couple of pages, and in so doing propel another character into direct action, and that's just the kind of smarts and specificity that Ben's working with which allows him to create such a weird-but-true world.

Finally, the presentation of Ms. Mann's students' work was great fun, and surprisingly fulfilling. I've always been a fan of short-form presentations of theatrical work and the way its informality can invite more audience involvement and great spontaneity in the actors' performances, but you often have to take a certain lackluster quality into account for such undertakings. Timing may be off, words may be stumbled over, etc. Such was the quality of the writing and the acting of this little presentation that it lacked no luster. I laughed, I cried, it was better than lots and lots of the fully produced shows I've seen in my life. I was lucky to be a part of it (particularly, extremely lucky, actually, because my scene partner is an amazingly good actor). We had fully-formed, five-minute segments of passion, manipulation, Alzheimer's, shuddering regret and even loving cannibalism. Egad I love theatre.

Perhaps the most uplifting thing to come out of the whole experience for me is that I was asked to return this Friday, to participate in a staged reading of one of the attendee's plays, Wild Animals You Should Know. Thomas Higgins penned the script, and I'm a big fan of it. (Very odd: Thom had a script in The SFOOBSPF, in which I just participated.) It has a lot to do with the Boy Scouts of America, so that's a like a little visit into my childhood, and it is working with some of the same themes as Burning Leaves does. And, somehow, the reading is being directed by Joe Mantello.

So, you know, um: WOW.

"My Father Had Tears in His Eyes After Seeing Dabangg Promo" - Sonakshi Sinha

Sonakshi Sinha and Salman Khan in a Scene From Dabangg
More Pictures of Sonakshi From Dabangg Below

Ok...so I get up late on a Friday. It's 12pm and the first thing I do before I sip my hot cuppa chai is log on to Twitter and Facebook. Cut to Thursday afternoon. When you log in, you see the entire world awake, Bollywood celebrities going ga-ga about the Dabangg promo. From veterans like Satish Kaushik to new comers like Imran Khan, the list was endless. I too send a text message to Sonakshi congratulating her and the promo. She replies in affirmative saying that she will call up once she gets a bit free from her prior commitments. Cut to Friday. It's 12.15pm. I sip my tea and comment on the twitter page of Sonakshi Sinha, "You didn't call. OMG." At 12.16pm, my phone rings and my blackberry signals, 'Sonakshi Sinha calling'. I love Twitter, we all do, don't we? But we all love Sonakshi Sinha too. Yes, it just wasn't the promo which took the tweetiepies by surprise, oh no! It was the fact that the word 'beautiful' had a new meaning and it all changed on a mystic Friday afternoon. Welcome Sonakshi Sinha. Welcome to the world where dreams are sold, welcome the newest of the many Sinha's who've taken our cinema to new heights.

So elated is this beautiful girl, that she spoke her heart out, "I spoke to Rani Mukerji, my favourite actress. I got hundreds of text messages, my Twitter page was all filled up and my mother was keeping track on all of it."

So when asked, what did the eldest of the Sinha member, Mr Shatrughan Sinha thought of the Dabangg promo, Sonakshi answered, "My father and I saw the promo together and instead of me watching the promo, I was looking at him. He had tears in his eyes after seeing the Dabangg promo. He loved it and that for him, was his most emotional moment. For me too."
Theatrical Trailer of Dabangg Click Here >>
Song Promo of Dabangg Click Here >>

But it's not only Dabangg which she wants to talk about, the daughter of Shatrughan Sinha is very excited and anxiously waiting for his father's best ever role to come out in RGV's Rakta Charitra. She quotes, "I am eagerly looking forward to Rakta Charitra. I did visit the sets with my mother one day while he was shooting one of the key scenes with Vivek Oberoi. Whatever I saw, I had no words to describe it. It's like sounding too biased but it's still the truth. He is a class apart."

But before we parted ways, I had to ask the debutant, what she thought when people commented on Dabangg to open with a bang at the box office this Eid. "It's obviously going to work well for me as an individual if that's what the trade pundits have predicted. It's going to do even better for the Khans (Arbaaz, Salman) and Shree Ashtavinayak, as we all have had faith in this project right from the day of its inception. Never before has anyone commented so much in advance before a Hindi film's release and that too on networking sites. Thank you Twitter and Facebook."

Now imagine a life without these networking sites. For starters, it's working...and how! And as I write the final words to end this brief but beautiful talk with Sonakshi, two more Bollywood celebrities, Riteish Deshmukh and Kunal Kapoor tweet - "Extremely happy for my friend Arbaaz 'Robinhood Pandey' Khan and Dabangg looks like a Hindi pulp movie. Really looking forward to this one."

I hope Mr Ridley Scott and Russell Crowe are following our Indian 'Robinhood' Pandey. A much needed inspiration for them! Subhaan, Subhan, Suban Nadiadwala

Images of Sonakshi Sinha From the Film DabanggSonakshi Sinha With Salman Khan in a scene From Her Debut Film Dabangg

Sonakshi Sinha With Salman Khan in Dabangg

Sonakshi Sinha in Dabangg Opposite Salman

Sonakshi Sinha With Salman Khan in Her Debut Bollywood Movie Dabangg

Sonakshi Sinha in a Scene From Her First Film Dabangg

Related External Links:
> Posters of Dabangg Starring Sonakshi with Salman
> Sonakshi Sinha at the Screening of Tere Bin Laden

Tamanna Bhatia



Tamanna Bhatia
Tamanna Bhatia (Sindhi: ; born 21 December 1989) is an Indian film actress and model. She has appeared in Tamil films and Hindi films. In 2005, she made her acting debut in her only Hindi film so far, Chand Sa Roshan Chehra, before working in the major South Indian film industries.
Also in 2005, Tamannaah made her Telugu debut in Sri, and in the following year she appeared in her first Tamil film, Kedi. In 2007, she starred in two college-life-based drama films, Happy Days in Telugu and Kalloori in Tamil, which both earned her critical acclaim. Following commercial successes with Padikathavan (2009), Ayan(2009), and Paiyaa (2010), she established herself as one of the leading contemporary actresses in the Tamil film industry. She also has experience as a model and has appeared in various television advertisements
Tamanna Bhatia
Tamanna Bhatia
Tamanna Bhatia
Tamanna Bhatia


Tamanna Bhatia

Our Best Laid Plans

On Saturday evening, Josh Sohn's short play Laid Plans opened, and closed. The good judges of the The Samuel French Off-Off Broadway Short Play Festival (henceforth, "The SFOOBSPF") elected not to pass our little production on to the final competition performances on the following Sunday. Such crumbs fall from such baked desserts. It's difficult to know exactly what criteria were used in our elimination, particularly without seeing any of the other shows in the week-long celebration of the short play. Best not to contemplate it, then. It's like auditions: Do yer best, accept the mess, and . . . uh . . . wear a dress? But only if you're a woman. Or it's a stage adaptation of Tootsie. But I digress.

The SFOOBSPF was a good experience overall, though certainly brief, and the actual performance was not without incident. Due in part to a malfunctioning headset backstage, the booth started the show before I was all set. I had just about ordered my confusion of costume changes and props backstage when the 14 seconds (yes: 14 seconds exactly) of music that cues the start of the play began. I was supposed to be prepped behind a tormentor off stage right, and instead I was behind the backdrop, still without top hat and spectacles. But a moment of panic, a quick adjustment and all was right with the world again. It was only a slightly inauspicious start to an otherwise solid performance.

I haven't written much on the process of this one, frankly because we had very little time to contemplate. The rehearsal period was very efficient. In fact, it had a little more time built in, but we had to recast one of our cast of three after about a week, which in itself took almost a week, and so: just enough time to pull the strands together. In that time, a lot of my process was occupied by some rather straight-forward decision making. By playing five different characters, I was also the only one who exited the stage, which made me the de facto prop manager and scene changer. Lots of time was spent -- rightly so, I believe -- choosing and managing props and costumes. Yet I am very fond of the characters I got to bring to life in Laid Plans.

The first out, as you may have guessed, was not of our time. The play kicks off with a daughter explaining she was named after William "Wilkie" Collins, and shortly thereafter I entered as the gentleman to play a scene of her mother's discovery of his novel The Woman in White when she was in college. It would have been impossible for me to actually imitate ol' Wilkie in his prime, so the director Kay Long very rightly suggested we play him younger, with a certain self-assurance (let's call it) that would come easily to me. I was disappointed with the loss of a sight gag by shearing him of his beard (and to the last and for naught, I held out for a handlebar mustache) but as it turned out, flourishing my cane and doffing a waistcoat, tails and the aforementioned top hat was enough to knock the audience into some good-natured laughter. The character of WWC was a proud, strutting man of manners, whom I really enjoyed filling out.

The next character to play was the mother's lover from her post-college years in New York, who is of course her daughter's father; Thomas Devine. His costume was essentially an under-dressing of WWC's: off with the hat, spectacles, and coat, and there we has, in vest and bow tie. He had some other things in common with WWC in terms of a certain self-assurance, but I tried to give that a different, more innocent flavor. Plus his flair for the dramatic was unique -- he was an actor, day-jobbing as a waiter. The contrast, too, could be played into his more contemporary, casual demeanor. Mostly, what there was to play with him was his obsessions, particularly with the mother character. I owe Kay thanks here too, as she kept reminding me of the morose side of passionate young actors. It was really for me just revisiting, ever-so-briefly, my 23-year-old self in many ways. In NYC, in love, in way over his head. He jumped around and ran his hands through his hair a lot.

Next up was a rather quick change into Jarvis, possibly my favorite of my characters. He was the high school relationship of the daughter: an overweight, weird-n-shy creative type who started as her friend before they crossed a line. Again, it felt to me rather familiar territory. The change was a pretty quick one. Often I still had Thomas' bow tie and handkerchief in my pockets as I entered the stage having ditched my vest and button-down and tossed on a voluminous hooded sweatshirt. I wish I could have seen a tape of Jarvis. The only changes we made to indicate his weight apart from mention of it in the script were stuffing the front pocket of the hoodie a bit, and my walk. I feel like I remember that walk really well, but it would be good to verify that with a little recorded evidence. Jarvis also drew comics throughout his scene, buried in a little notebook, and I used the occasion to revisit my ill-advised forays into cartooning. He was a confused kid, and that confused kid lives on in us one way or another, I think. Nice to find a use for him.

After Jarvis came my role with the most lines and stage time: Toast. (That's what his friend call him.) Toast is a figure from the daughter's collegiate experience, a fellow she meets at a party. This costume was the most stripped down -- just an American Eagle cap, my undershirt (a band t-shirt for Artist vs. Poet) and my slacks tugged down to about mid-butt level -- but the character probably the most affected. It's maybe a tie between Toast and WWC, but Toast was certainly off-type for yours truly. He enters with a couple of those red party cups, master of the party, at least in his own mind. In a way, we was a combination of the postures of Jarvis and Thomas: chest out, but legs heavy and low to the ground, and all of it utterly relaxed. We always imagined that Toast would get a couple of good laughs, so I mostly concerned myself with playing him believably, not making the funny, or exaggerating. I don't know how well I ultimately did, but he got some gratifying laughs, especially on a couple of lines in which he spoke his inner monologue whilst hitting on the daughter (where's my entirely other actor to voice an inner monologue, huh?).

Finally, after Toast was my most frantic change into Alan Stone, the architect and would-be boyfriend of the mother, a fellow from her recent past. This was the shortest amount of time for a change, and though the change wasn't too drastic (tug up inseam, done v-neck sweater, blazer and glasses) I made it slightly difficult on myself by insisting on combing a little pomade in my hair. He needed that precision. Alan, like Thomas, had no lines. Unlike Thomas, he was very precise and actually completely silent, which reminded me a bit of the simplicity Zuppa del Giorno found working on Silent Lives all those years ago. He came to use chopsticks in his little vignette, which was a lovely way of illustrating his personality (and I managed not to drop the damn things). Upright, logical, "not effusive," Alan turned on his heel and left, and thus endeth my run of five.

After my exeunt, the play has at least a good ten minutes left on it, which I also savored. It is, after all, about the women, and I have savored that and the way the action eventually strips it down to just the two of them ever since I first read Josh's script some year or so ago. The SFOOBSPF didn't favor us, didn't pass us along to eternal salvational fame and renown, but I believe we laid out our case for Josh's script the best we could, which was pretty damn good. Sometimes when the best isn't good enough, it only means it's making way for something better.

Kajal Agarwal

Kajal Aggarwal ( born on 19 June 1985) is an Indian actress, who has appeared in Telugu and Tamil films. She made her acting debut in the 2004Hindi film Kyun...! Ho Gaya Na, playing a minor supporting role, before becoming a leading actress in the major South Indian film industries. She rose to fame after her performance as Yuvarani Mitravinda and Indu in the 2009 Telugu blockbuster film Magadheera.

Family Pictures of Sunil Shetty With Dauther Athiya, Son Ahaan and Wife Mana

Sunil Shetty is married to Mana Shetty and has two children called Ahan and Athiya. Below are the Images.Family Portrait: Latest Photo of Sunil Shetty with Daughter Athiya and Son Ahaan

Older pic of Mana Sunil Shetty with daughter Athiya

Sunil Shetty's Daughter Athiya Shetty with Mom Mana

Sunil Shetty with Wife Mana and Son Ahaan Shetty

Find Here: Images of Sunil Shetty's Daughter and son, Photographs of Sunil Shetty's Daughter Athiya, Photos of Sunil Shetty's Son Ahaan.

Sonia Agarwal


Sonia Agarwal (born on 28 March 1982) is an Indian film actress and model. Having predominantly acted in Tamil, she is probably best known for her performances as Divya and Anitha in the Selvaraghavan-directed films Kaadhal Kondein and 7G Rainbow Colony, respectively.



Emraan Hashmi With Wife Parveen and Son Ayaan Hashmi

Emraan Hashmi married his long time girlfriend, Parveen Shahani in December 2006. He became father to a baby boy on 4 February 2010 and named him Ayaan. Here's the Happy family portrait.

Emraan Hashmi With Wife Parveen Hashmi and Son Ayaan Hashmi: A Happy Family Portrait

Emraan Hashmi with Wife and kid on a holiday

It's an Honor just to be Nominated...


The Planet Connections Theatre Festivity award nominations have been released, and our show Love Me has garnered OVER NINE of the little buggers. The nominations are:
  • Congeniality Award - for Jason Grossman
  • Outstanding Overall Production of a New Play - for Love Me
  • Outstanding Playwriting for a New Script - for Jason Grossman
  • Outstanding Lead Actor in a Play - for Aaron Rossini
  • Outstanding Supporting Actress in a Play - for Daina Stefanie Schatz
  • Outstanding Actor in a Featured Role of a Play - for James Cichewicz
  • Outstanding Actress in a Featured Role of a Play - for Kaira Klueber
  • Outstanding Actress in a Featured Role of a Play - for Laura Boling
  • Outstanding Ensemble in a Play, Musical or One-Act - for Love Me
Oh, and there was one more...let's see...what was it...? Oh yeah:
  • Outstanding Supporting Actor in a Play - for Jeff Wills
OHM'GOSH, YOU GUYS! Oh...m'gosh! Well, I just...I never thought anyone was watching! I swear. Seriously, you guys: Thanks. You know, you spend your whole life STANDING OUT THERE and finally, finally somebody notices that you are, in fact, out-standing. I'd like to thank God, of course, and my future agent, and....

Oh right. Right. Haven't won yet. Right. Sorry, everyone; sorry. Got just a hair carried away there.

It really is cool to be nominated. I mean, the sheer number of nominations is huge, because they are divided amongst full-lengths, one-act collections, musical and readings, and it's not a terribly prominent festival in terms of people having heard of it to date, but . . . it's my first nomination. Well, since high school (which, oddly enough, doesn't carry much weight on a resume). It's not too often that somebody nods in one's direction when it comes to acting, and we're expected to put every last bit of creativity and emotion into each and every role as the standard function of the job, so: Yes. It's an honor just to be nominated, if but a modest, personal honor.

It's a bit odd that the festival would like us very much to attend the awards ceremony, and to pay $16 each to do so, to cover the costs of the venue and the certificates. The drinks are supposed to be very affordable, and there's no minimum to buy, so that's good. What's really funny about this is that anyone who's ever tried to run a non-profit event is likely to respond to this structure with a, "Oh yeah, well -- nice of them to administer something like this for everyone. Great networking opportunity, and you'd pay way more for any standard industry meet-n-greet. Plus: I like cheap drinks." Everyone else, though, and most especially my non-theatre friends, will likely be all, "Right. Really? Right. Seriously? So, uh: Why go?"

Why go, indeed, General Public. Why go indeed? There's a certain expectation, and it could be a fun time. I really, truly liked this festival, the way it was run and all the people I met who ran it. It was for not just a great cause, but many, many causes. I miss working with my great cast, many of whom are likely to attend. Plus, I might win. I have no idea, really. I don't even know how their nomination and voting structure work. My part was uniquely supporting (in fact, in my opinion, rather antagonizing) though, and on that basis alone I may be remembered with favor. And I have never given an acceptance speech. Here is my chance to parody Matt Damon's and Ben Affleck's, with me playing both of them of course, and of course avoiding any mention of Minnie Driver whatsoever.

I don't think I will be attending, however. It's a personal decision, because I understand the trials and tribulations of not-for-profit administration and there's simply no point in trying to make a point with my decision. Not to put too-fine a point on it, but: It's pointless. The festivity can't help that they're non-profit, just like I can't help that acting on stage is a generally unprofitable enterprise now-a-days.

My personal basis, however, does have something to do with money. Money does have value, and we ignore that at our peril, regardless of artistic integrity. I willingly, effectively worked hard, for free, to help make our show, taking on whatever duties I could to facilitate the best production I could imagine. That turned out to be an especially rewarding experience this time around. In the process, I helped spread word about the show and the larger festivity, helped make a little money for a worthwhile charity organization, and supported other shows involved. I did all this gladly, celebrating the process.

That, I think, will be reward enough for me this time around. I don't need to pay for anything more. It's an honor.
 
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