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Broadway: Headline for “Hello, Dolly!” Review at The Wrap Either Anti-Semitic or Just Stupid

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red hot

The Wrap, a terrible entertainment website, gets it wrong again. The headline for their “Hello,Dolly!” review is either anti-Semitic or just stupid.

“BETTE MIDLER RETURNS AS HOT JEWISH MAMA”

Bette plays a widow named Dolly Gallagher Levi. Dolly is Irish. Her husband, Ephraim Levi, may have been Jewish. We don’t know. She is not Jewish. Barbra Streisand, who player her in the movie, is Jewish. Bette Midler is half Jewish. But that doesn’t make Dolly Jewish.

Dolly Gallagher Levi was invented by Thornton Wilder for his play “The Matchmaker,” which had two previous incarnations as well. It’s a story dating back to the 1850s in fact, about German and Irish immigrants.

In the New York Times, circa 2006, Carol Channing and Tovah Feldshuh discussed this. Tovah was playing Dolly at the Paper Mill Playhouse.

CHANNING — She’s a goy who got lucky. FELDSHUH — Right — a few stomach problems, great jewelry, no afterlife. But she didn’t convert. And now he’s died, and she sold the jewelry, and she ain’t got nothing left. Of course, she’s learned some things about Judaism, but she’s as Christian as she was 20 years ago.

Oy vey!

RIP R&B Star Cuba Gooding, Sr., Father of Oscar Winning Actor, Lead Singer of the Main Ingredient

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So devastated to hear that Cuba Gooding, Sr. has passed away at age 72. He was the lead singer of the Main Ingredient, a wonderful R&B group of the 1970s. His hits included “Everybody Plays the Fool” and “Just Don’t Want to Be Lonely.” They are mainstays of the pop and R&B canon. I knew Cuba Sr., we filmed him for “Only the Strong Survive.” He was a lovely man. What a shame. Cuba had the same effusive personality as the son (whom younger people will know better) and a lilting R&B tenor that was a staple of AM radio. Reports say he was found dead in his car in suburban Los Angeles. Condolences to our pal Cuba Jr., the famed actor, and all his friends and family.

 

Bette Midler is the Oldest Dolly Levi Ever in “Hello, Dolly!” By Several Years– Including Ethel Merman, Carol Channing, Pearl Bailey and Ruth Gordon

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Bette Midler opens tonight in “Hello, Dolly!” on Broadway. This isn’t a review because there are no press seats except for the main reviewers. A lot of regular theater press has been offered the chance to buy tickets. Midler is doing no press, either. Why bother? They have a $40 million advance. She’s being paid around $100,000 a week, plus is probably getting a cut of the net take. For that kind of dough the former Divine Miss M doesn’t have to answer a single question except “Where’s the deposit slip?”

There’s no red carpet tonight, either, in keeping with producer Scott Rudin’s pattern of eschewing opening nights. There’ll be a big party at the New York Public Library, but Bette won’t stay very long. She needs her rest!  According to reports she’s suffering from vocal problems and exhaustion.

That’s because Midler is 71 years old. Ruth Gordon was 59 in 1955 when she played Dolly in Thornton Wilder’s play “The Matchmaker” on Broadway. When Carol Channing invented the musical role in 1964, she was only 43. When she last performed the role in 1995, Channing was a little older than Midler– 74– but she knew it by heart. Channing (now 96!) still managed to make 111 performances during that last run. And no one filled in for her on matinees. (Donna Murphy is doing that for Midler.)

When Channing vacated Dolly in 1967, Pearl Bailey took over. She was only 55 when she took the role for three years until 1970.

That’s when Ethel Merman arrived. Merman, born in 1908, was just 62 when she became Dolly. That’s still 8 years younger than Midler. (I know, you’re thinking we thought these ladies were old then. They weren’t!)

Dolly Levi is not supposed to be carrying an AARP card. So the matinees may be the way to go since Donna Murphy recently turned 58. David Hyde Pierce, who’s playing Horace vanDerGelder? He’s also 58. (And let’s not forget Barbra Streisand was only 27 when she did the movie– way too young!)

When she was young, no one had more energy than Bette Midler. Her stage shows were like Broadway productions. She climbed out of clam shells and so on. But all that was in the late 1970s and early 80s– 40 years ago. Midler was just in her 30s. Time flies. The wind is beneath our wings! Still, the funniest moment ever on the Grammys was when Bette appeared wearing a 45 rpm single in her hair. Those were the days!

PS Louis Armstrong was only 63 when he had his chart topping hit (seven weeks at number 1) with “Hello, Dolly!”) in 1964.

 

“Guardians of the Galaxy Vol 2.” Soundtrack: George Harrison, Sweet, “Brandy,” And Director’s Obscure Finds

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Everyone’s been waiting to see the run down of tracks from the 1970s for “Guardians of the Galaxy, Vol. 2.” This time around Peter Quill (Chris Pratt) and company will rock out to some songs from the 70s, one from the 60s, and a couple of obscurities.

Plus, David Hasselhoff was commissioned to record a special novelty song.

Here’s the most obscure song I’ve heard. “Lake Shore Drive” was supposedly a regional hit in Chicago in a one square mile area:

The rest of the songs include “My Sweet Lord” by George Harrison, “Fox on the Run” by Sweet, “Mr. Blue Sky” by ELO, “Brandy (You’re a Fine Girl)” by Looking Glass, “Southern Nights” by Glen Campbell, “Surrender” by Cheap Trick, and “Father and Son” by Cat Stevens.

Clive Davis Film Sells to Apple Music, Stars Glitter at Tribeca Fest Premiere, Tears and Standing Ovations

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Everyone is here at Radio City from New York governor Andrew Cuomo to movie stars. And rock stars.

First: the big news is that Apple Music has bought the rights to stream and download “Clive Davis: Soundtrack of Your Life.” A theatrical release plan is forthcoming.

Five thousand people packed Radio City Music Hall tonight to see the film, which is just terrific, full of fun, the history of the pop music business, and the story of Whitney Houston’s rise and fall.

Then– Whoopi Goldberg emceed an hour long show (maybe longer) that had Barry Manilow perform a medley of his hits, Jennifer Hudson slay the crowd with a medley of Whitney Houston songs and Leonard Cohen’s Hallellujah”; Dionne Warwick majestically full-throated and better than ever on hits she had from Arista Records; Carly Simon (with son Ben playing guitar) on “Coming Around Again” and “Itsy Bitsy Spider.”

Plus– Earth Wind & Fire tore through the Beatles’ “Got to Get You Into My Life,” “Shining Star,” and a whirling dervish of “September” that sent the crowd into Nirvana. They also performed a lovely collaboration with Kenny G. And then Aretha Franklin — looking spectacular in a white gown with gold embellishments– gave stunning renditions of “Freeway of Love” and “Natural Woman” like it was 20 years ago. More standing O’s.

All the acts brought their “A” games. I’m not sure if JHud knew it but while she was singing “I’m Every Woman,” Valerie Simpson– who wrote the song with her late husband Nik Ashford– was rocking out. Simpson was sitting behind Peter Fonda. And everywhere you looked there were famous people scattered through the audience. Mostly the people in Radio City were dancing and singing along, underscoring the meaning of the documentary that opened the Tribeca Film Festival.

Later at Tavern on the Green, Miss Franklin took pictures with Robert DeNiro and wife Grace (shimmering in silver) and plenty more A listers turned up including matchbox twenty’s Rob Thomas and his beautiful wife Marisol. Also on hand: Tony winner Cynthia Erivo, Anthony Mackie, Judy Collins, Lee Daniels, Denise Rich, Nikki Haskell, Beverly Johnson, and Ghostbuster himself, Ray Parker, Jr.

I dare say: best Tribeca Fest opening yet. A good omen for the 2017 festival!

More later today…

Purple Pain: Prince’s Estate Files Suit Against Producer Trying to Release Unheard Songs

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Prince’s estate has filed suit in federal court against Rogue Media Alliance and producer George Boxill, who worked with Prince from 2004-2006 and now hopes to cash in. RMA announced last night that they were releasing three to six new Prince songs on Friday. One of them, “Deliverance,” was posted to SoundCloud and is now apparently on iTunes.

According to Minneapolis station KSTP, the lawsuit states Boxill signed a confidentiality agreement, which stated that all recordings he worked on with the pop star “would remain Prince’s sole and exclusive property.”

Also:

* The agreement also stated Boxill “would not use any recordings or property in any way whatsoever,” and “he would return any such recordings or property to Prince immediately upon request.” 

* However, Boxill will not return the masters or recordings, and he has shared the tracks with third parties, which all violate his contract, according to the lawsuit.

* The confidentiality agreement echoes Prince’s concern for privacy. There was a clause in the contract that states Boxill has “no right to give interviews or write books, articles, etc.” 

The estate and Paisley Park claim a release of the so-called “Prince Recordings,” would hurt its interests “permanently and irreparably.” It would hurt business relationships , but more importantly, “it deprives Prince (and now the Estate) from choosing what is released to the public and when,” the suit states.

The suit asks for Boxill and any associates working on this to return the Prince Recordings and refrain from using anything Boxill obtained with his sessions with Prince. The estate and Paisley Park said it would like “any and all masters, copies and reproductions” returned.  The state lawsuit sought civil liability for theft. 

The Estate issued this statement:

The Estate of Prince Rogers Nelson is aware that Mr. George Ian Boxill, in conjunction with Rogue Music Alliance, has issued a press release announcing an intent to distribute previously unreleased Prince master recordings and musical compositions. The Estate has not authorized any such release and is not affiliated with either Mr. Boxill or Rogue Music Alliance. During his unparalleled career, Prince worked with many sound engineers, including Mr. Boxill. Like the other engineers that had the opportunity to work with Prince, Mr. Boxill signed an agreement, under which he agreed (1) all recordings that he worked on with Prince would remain Prince’s sole and exclusive property; (2) he would not use any recordings or property in any way whatsoever; and (3) he would return any such recordings or property to Prince immediately upon request. Mr. Boxill did not comply with his agreement. Instead, Mr. Boxill maintained copies of certain tracks, waited until after Prince’s tragic death, and is now attempting to release tracks without the authorization of the Estate and in violation of the agreement and applicable law. The Estate is taking immediate legal actions to prevent Mr. Boxill’s continuing violations of his agreement and the rights of the Estate and its partners in Prince’s recordings. Any dissemination of the recordings and underlying music compositions, or fixation of the same in any audiovisual work or otherwise, is unauthorized and in violation of the Estate’s rights to the master recordings and musical compositions.

Broadway: A More than Decent “Indecent” Draws A List Crowd, Aims at Tony Award

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You know a new play will be good if Mercedes Ruehl turns up for opening night. Ruehl, an Oscar and Tony winner, doesn’t come into town from her country home unless she knows a show is going to be special. And there she was last night at the opening of Paula Vogel’s extraordinary, edgy, and profoundly charged “Indecent,” the story of a Yiddish play that caused so much trouble when it opened on Broadway in 1907 that everyone involved was arrested and hauled off to jail.

The play was “God of Vengeance” by Russian writer Sholem Asch. The play was about Jews who use the money from the brothel they’re running to buy a Torah. On top of that, the daughter of the brothel’s owner has fallen in love with one of the prostitutes. A lesbian affair went over pretty well with 1907 Greenwich Village audiences, but when they brought it uptown to Broadway it was a scandal.

Vogel has made the producing of  “God of Vengeance” and the story of Asch’s emigration to the US from Poland her main story, while at the same re-creating the play. In 1907 when the play moved uptown, the producers cut the lesbian love scene that had been such a draw in the Village. Asch did nothing to protect his work, leaving his Yiddish theater troupe– which believed in the show passionately– high and dry.

“God of Vengeance,” as it turned out, became a hit for Asch around the world, and is still often performed– intact– by theater companies. But it’s Vogel’s imagining of the plight of the theater troupe back in 1907– as immigrants, remember, which is a huge part of this story from Poland to Ellis Island– that adds this riveting dimension. And then the production itself, directed by Rebecca Taichman, that transcends even the material. She and Vogel have added music– there is a lot of singing and beautiful choreography–and inventive production design.

In Yiddish “beshert” means “meant to be.”  This production is certainly “beshert,” an absolute must for a Tony nomination for Best Play if not the winner. And two featured actors who need highlighting: Richard Topol, who plays Leml, the heart and soul of the troupe, and Max Gordon Moore as Asch (and in one scene, Eugene O’Neill.)

Oh, and besides Mercedes Ruehl: the great director Julie Taymor, actor Bob Balaban and wife Lynn, Tovah Feldshuh, Joel Grey, Bill Irwin, Celia Keenan-Bolger, “Oslo” director Bartlett Sher, Molly Ringwald, and , surprisingly, Arianna Huffington, were among those standing and cheering at the end. Kudos to producer Daryl Roth. She brought “Indecent” to ‘Broadway’ but it’s at the Cort Theater, next to Fox News and News Corp, where this material would be banned in an instant if they had their way!

Six New Prince Songs Will Be Released This Week (Listen) to Mark 1st Anniversary of Singer’s Death

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Six unheard songs by Prince will be released Friday in advance of the 1st anniversary of his death. The first one available to hear is called Deliverance:

The other songs are called “I Am” and “Man Opera,” an 8 minute suite, plus “Touch Me,” “Sunrise Sunset,” “No One Else” and an extended version of “I Am.” (I don’t think “Sunrise Sunset” is a cover of the “Fiddler on the Roof” song but you never know.)

It’s unclear if this with permission of Prince’s estate or it affects the estate’s deals with Universal and Warner Bros. The ‘label’ for these releases is called Rogue Music Alliance. Their press release reads:
The songs were written and recorded when Prince was an independent artist, protesting what he saw as an unjust music industry. In the spirit of that independence, and in supporting Prince’s opinion of major label contracts, DELIVERANCE is being released independently via RMA, a Vancouver, WA based record company. The majority of all sales of DELIVERANCE will benefit Prince’s estate.

Prince, and Ian Boxill (2Pac, Gladys Knight, Janet Jackson, Bone Thugs-n-Harmony, multiple award winning Prince albums), co-wrote and co-produced all of the tracks beginning in 2006. After Prince’s untimely passing, Boxill continued their work by spending the past year completing the compositions and arrangements, finishing the production and mixing the songs.

TV Exclusive: “Law & Order: SVU” Battling Diminished Ratings, Showrunner May Be Departing

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It hasn’t been a great 18th season for “Law & Order SVU.” Ratings are down, and I’m hearing morale is, too.

The latest word is that show runner Rick Eid, who came in this season when Warren Leight left, may be moving to a different Dick Wolf show. Sources say Eid may be heading to “Chicago PD” or “Chicago Fire” when this season ends.

“The cast is hoping Warren’s pilot doesn’t get picked up,” says a source, referring to Leight’s proposed drama about an ER called “Shelter.” “They want him back on SVU.”

A couple of nights ago, Leight was surrounded by “SVU” actors at the Broadway premiere of “Groundhog Day” which stars former cast member Andy Karl.

“SVU” definitely needs Leight’s touch quickly. In his five years as EP the show built a whole new audience and a groundswell of new fans. Ratings were up and averaged 9 million per week. But this season has been rough. The first new episode back in October scored 11 million viewers. The most recent episode, which aired March 29th, was down to 7 million.

Certainly the goal is to get “SVU,” a show with a very fervent following, to its 20th anniversary season. And somehow, whoever’s in charge will have to deal with the famous unaired “Donald Trump” episode in which Gary Cole plays a presidential candidate accused to sexual harassment. So far, NBC has kept the episode titled “Unstoppable” on ice. It was supposed to air last October, was moved a couple of times, and then disappeared.

What do fans want? Chris Meloni back for a story arc as Elliot Stabler, for one. That would make the SVU ratings jump without fail.