Saturday, December 20, 2025
Donate
Home Blog Page 1638

“Homeland” Season 5: Carrie’s Getting a Hot German Lover, and a Talking Child

Roger Friedman
-
0
“Homeland” Season 5: Carrie’s Getting a Hot German Lover, and a Talking Child

“Homeland” is going to Berlin. That’s right. The popular Showtime series starring Clare Danes and Mandy Patinkin is leaving the mid East for Germany. I do mean the location since “Homeland” used South Africa to appear as Afghanistan in season 4.

The big news I can tell is that Carrie Mathison is getting a hot new German-Jewish boyfriend named Jonas, according to sources. Jonas hasn’t been cast yet, but I’m told the new actor must be comfortable with nudity and sexuality on screen. I guess that means the mourning for Brody (Damian Lewis) is officially over.

Carrie’s daughter Franny, with Brody, will also be appearing on the show. She’s three or four years old and can speak. She will obviously have a lot to say if they tell her what’s been going on since the show began!

Carrie and Saul (Patinkin) will also get a new antagonist called Otto, described as a descendant of a Nazi family who’s trying to do right by the world. From what I’m told, “Homeland” Berlin will have storylines featuring former Nazi activities and maybe some Russian spies. I don’t blame the producers for wanting to cool it with the mid East.

“Homeland” post-Brody has turned into an excellent show. They’ve managed to reinvent themselves each season with new compelling stories. They could easily go 7 seasons at this point.

Stay tuned…

 

Joni Mitchell “Is Not in a Coma” But Needs a Temporary Conservator

Roger Friedman
-
0
Joni Mitchell “Is Not in a Coma” But Needs a Temporary Conservator

TMZ grabbed some legal papers filed yesterday in Los Angeles and decided Joni Mitchell was at death’s door. The papers were for a conservatorship, signed by a long time friend named Leslie Morris. What TMZ didn’t advertise was that Morris wrote into the papers that she anticipates that Joni won’t be able to appear in front of a judge for “four to six months.” Not forever. This is so far considered a temporary move.

Since then a message has been posted to Joni’s website: Sources with Joni in the hospital have approved the following statement to be made through JoniMitchell.com: “Contrary to rumors circulating on the Internet today, Joni is not in a coma. Joni is still in the hospital – but she comprehends, she’s alert, and she has her full senses. A full recovery is expected. The document obtained by a certain media outlet simply gives her longtime friend Leslie Morris the authority – in the absence of 24-hour doctor care – to make care decisions for Joni once she leaves the hospital. As we all know, Joni is a strong-willed woman and is nowhere near giving up the fight. Please continue to keep Joni in your thoughts.” You may add your well wishes for her at the website WeLoveYouJoni.com

Joni has been in the hospital for 25 days after collapsing at home and maybe hitting her head. There’s never been an official confirmation of what actually happened, or her diagnosis, just lots of speculation. The papers signed by Morris claim that Mitchell has no living relatives. But her fans know that Joni reconnected with the daughter she gave up for adoption some time ago. Her name is Kelly Dale Anderson. We may be hearing from her soon.

The world loves Joni Mitchell, a great artist and avowed curmudgeon.  Let’s pray she just gets better and better until there’s more actual information.

Robert Redford on Hillary Clinton, Ted Cruz: “I don’t know what their real views are”

Paula Schwartz
-
0
Robert Redford on Hillary Clinton, Ted Cruz: “I don’t know what their real views are”

Legendary filmmaker Robert Redford, honored with the Film Society of Lincoln Center Chaplin Award Monday night, was not going to get roped into a political imbroglio on the red carpet on his big night.  Redford was asked as a “left wing guy,” whether he thought Hillary Clinton or Ted Cruz would have “to center their views to win without losing their ideals?”

Redford countered, “That’s a great question. I don’t know what their real views are.” The reporter persisted, “So you think they’re already diluting…?” His words wandered off while Redford replied diplomatically, “I have no idea. I just know politics is a dangerous ship to float in and you have to make compromises and maybe some you don’t have to, but in terms of those two I have no comment.”

None of the presenters diluted their praise for Redford. The round up included Jane Fonda, J.C. Chandor, John Turturro, Laura Poitras, Elizabeth Moss, and via pre-recorded video, George Lucas and Quentin Tarantino. The evening featured film clips from “Butch Cassidy and the Sundance Kid,” “Downhill Racer,” “All the President’s Men,” “Three Days of the Condor,” “Barefoot in the Park,” and his more recent films, “All Is Lost,” “Captain America: The Winter Soldier,” and the yet to be released, “A Walk in the Woods.”

Chandor introduced a clip from Redford’s upcoming film, “Truth,” about the final days of Dan Rather at CBS News. The clip shows Redford, who plays Rather, in an airplane giving tips to another journalist. Of course Redford and Rather look nothing alike, which is a curious twist, but the film looks intriguing.

The gala began with a walk down memory lane for Jane Fonda who has worked with Redford on three films, including “Barefoot in the Park” and “The Electric Horseman.” Said Fonda, “Looking at his work, past and present, I don’t think there’s any other actor who has had a bigger influence and impact on American cinema than Bob Redford.”

.

George Lucas called Redford “a beacon for all independent filmmakers,” while Tarantino recalled back in 1991, at age 28 – before he had ever seen snow up close – he was accepted into the Sundance Directors Workshop with a script for a film that was to become “Reservoir Dogs.”

Elizabeth Moss, who co-stars with Redford in his upcoming movie, “Truth” spoke about how Redford launched her mini-television series, “Top of the Lake,” along with supporting several of her independent films. She recalled a trip to the Cannes Film Festival with Redford to promote another project. A photograph of Moss standing between Redford and her “Mad Men” costar Jon Hamm flashed on the screen. Said Moss, “Two thoughts came to mind when I saw that: Can I just die now? And why do they both have prettier hair than me?”

She added, “Bob is one of the kindest, most generous, most talented people in the world. It will always be one of the great accomplishments of my life that I got to work with him.”

J.C. Chandor recalled his first meeting with Redford. “I had offered him a part in ‘All Is Lost.’ In fact it was the only part in ‘All is Lost.’” A week after the meeting Redford asked the director fly across the country to discuss it in more detail.  “Starring there at the Sundance Kid, I just started talking,” he said, “I just went into how I was going to make this movie and I went into as many details as I possibly could and then about 4 or 5 minutes Redford held up his hand to stop me and he said, ‘Jesus, for a guy who wrote a 31 page-script with no words in it you sure can talk a lot.”

The director recalled Redford flew to the set in Mexico on his 76th birthday with no “entourage or fanfare.” No one on the crew had even been born when Redford began making films. Chandor said his star spent the next couple months “getting the physical and mental crap beat out of him.”

 Chandor said he learned many things from that experience, especially “how to make a career in this business while trying to remain a devoted, responsible father and husband, how to balance and protect what it is that’s meaningful in your work and most importantly how to handle several shots of tequila while under large doses of Mexican antibiotics, which he was on for an ear infection.”

Finally he saluted Redford for his work inspiring filmmakers and lifting them up through Sundance by taking the non-conventional path, “because you never gave in and you still haven’t.”

The high point of the evening was the reunion of Katie Morosky Gardner and Hubbell Gardner; Barbra Streisand, 73, who played Katie in “The Way We Were,” presented Robert Redford, 78, who co-starred as Hubbell, with the 42nd Chaplin Award.

To howls and cheers Streisand Barbra Streisand swept on stage, regretted she hadn’t attended the rehearsal, and tried – mainly successfully – to make out her notes. She recalled the first day on set of “The Way We Were.”

“It was a few days after ‘Funny Girl,’ and as I walked down the sound stage I could hear the crew shouting out my opening lines from, ‘Funny Girl. Hello Gorgeous!’ I was thrilled. I was flattered and then, I realized they were talking to Bob.” Ba-ba-boom. The audience ate it up.

Streisand said she first saw Redford in “Inside Daisy Clover” and thought “Who is this Man? I realized there’s a lot going on behind those crystal-blue eyes.” Straining at her notes, Streisand murmured, I can’t bear it, this son of a bitch,” as the audience cracked up.

She wanted Redford “desperately” for “The Way We Were,” but Redford turned it down “because he thought the character was too one-dimensional.” Director Sydney Pollack suggested other actors, but Streisand was even more set on casting Redford after she saw “Jeremiah Jones. “Once he washed up and cut off the beard.”

Screenwriter Arthur Laurents kept rewriting the script. When Streisand was in Africa shooting a film, she received a telegram from her agent that read, “Barbra Redford,” and “that’s when I knew that he finally said yes.”

Streisand went on to salute Redford as a “visionary” who “always believed that freedom of artistic expression is something to be nurtured and encouraged and kept alive while others talked about that concept.” She went on to call him “that rare combination, an intellectual cowboy, a charismatic star, who is one of the finest actors of our generation, and talented working both sides of the lens.” Then Streisand quoted from “The Way We Were,” where Katie says to Hubbell, “People are their principles” and that her co-star personified that maxim.

She ended with, “Dear Bob, it was such fun being married to you for a while. Too bad it didn’t work out, but we made something that will last much longer than many real marriages and I’m so proud of the work that we did together. I was thrilled to be your leading lady.”

When Redford came out on stage, Streisand tenderly touched his still curly hair and they embraced.

Redford said he was not “one to look back” but he briefly reflected on his California upbringing to his early days as a theater actor in New York. “Taking risks, for some people, that’s not an acceptable thing, but for me it’s a step along the way.”

He spoke of the meaning of success, how it was relative. “For some it’s the endgame. But For me it’s the step along the way, not to be fully embraced but maybe to be shadowboxed with.”

He spoke of how it “might be old fashioned but putting something back feels right” as he referred to the founding of Sundance as a place “for filmmakers and playwrights to develop their skills who might otherwise not have a chance to do so, and to do it in a place that’s free from the urban environment of L.A… in a place of nature and see what happens.”Adding the results could have been “horrible.”

Redford ended with, “I guess doing this is really the climb up the mountain, not so much standing at the top because at that point there’s nowhere to go, just the journey and the work, and that’s what means the most to me is the climbing.”

Tony Awards: Renee Fleming Comedy Closing After Shut Out, More to Come

Roger Friedman
-
0
Tony Awards: Renee Fleming Comedy Closing After Shut Out, More to Come

The comedy “Living on Love” starring opera great Renee Fleming has posted a closing notice for May 3. They were shut out of any Tony Awards nods this morning. More shows will follow. “The Heidi Chronicles” had already announced their early closing.

The very expensive musical “Doctor Zhivago” won’t be far behind, unfortunately. The revival of “Gigi” and the original musical “It Shoulda Been You” will also have trouble surviving without the public relations box office bounce of Tony nominations in their ads.

Another show that got no love from the Tonys, “Finding Neverland,” will continue on because of its main star’s following. Matthew Morrison, coming from the TV show “Glee,” has kept the box office up over $1 million a week so far. Good word of mouth will also help. “Neverland” may not be a Tony show but it’s a crowd pleaser.

Some of those shows that came in for Tony deadline should have been mounted in the summer or fall when there is less competition. “Zhivago” for example would have benefited from not being in the Tony mix.

It’s the single toughest thing to do — putting on a Broadway musical. All the chemistry has to be right. And the show, of course, has to be good. The biggest loss of this season was “The Last Ship,” which was undone by poor marketing. Still, Sting’s score was nominated today and could win. “The Last Ship” had the best songs of 2014-15.

NFL Will Give Up Tax Free Status So They Can Hide CEO and Exec’s Gigantic Salaries

Roger Friedman
-
0
NFL Will Give Up Tax Free Status So They Can Hide CEO and Exec’s Gigantic Salaries

The NFL has decided to hide information about its executives bloated salaries legally. They’re giving up their federal tax status as a non profit organization, thus removing all transparency about the group. All foundations and charities file Form 990s in which compensation of top execs must be noted.

Last year, there was shock when it came out that in 2012 Roger Goodell, commissioner of the NFL, took home $44 million in salary and bonuses. The year before that Goodell’s salary had been $29 million.

This was after many bungled decisions and scandals including Ray Rice and domestic abuse, and concussions, among other scandals such as deflated footballs.

Goodell isn’t the only wildly overpaid NFL exec. In 2012 as well EVP of Media Steve Bornstein got $26 million. Five other execs also received healthy seven figure salaries.

Goodell, according to Bloomberg News, says he discussed changing the NFL’s tax status with team owners in March. Letters were sent out this month. It’s unclear how this will affect the groups that received money from the NFL Foundation. But it will ensure that the company’s business will no longer be public.

The NFL’s 2014 Form 990 has not yet been made public.

(Watch) Glenn Close Name Checks Robin Williams in Moving Speech About Mental Illness at Variety Lunch

Roger Friedman
-
0
(Watch) Glenn Close Name Checks Robin Williams in Moving Speech About Mental Illness at Variety Lunch

Please do watch Glenn Close’s beautiful speech about mental illness at last week’s Variety lunch for Power of Women. Other speakers and honorees included Lena Dunham, Whoopi Goldberg, Rachel Weisz, and Kim West. But it was Glenn’s speech that really touches the heart. Variety filled midtown Cipriani and did a brilliant job– kudos to Michelle Sobriano, Claudia Eller et al. Rosie Perez and Emmy Rossum were among the guests, as well as Caroline Hirsch (Caroline’s Comedy Club, and Stand up for Heroes), “Selma” star Carmen Ejogo. I got to meet Sister Rosemary Nyirumbe of Uganda, who you can (and should) follow on Facebook.

Broadway: Tony Awards–Alan Cumming, Kristen Chenoweth To Host Show, Noms Include Helen Mirren, Bradley Cooper, Something Rotten, Sting for Best Score

Roger Friedman
-
0
Broadway: Tony Awards–Alan Cumming, Kristen Chenoweth To Host Show, Noms Include Helen Mirren, Bradley Cooper, Something Rotten, Sting for Best Score

Tony nominations this morning excluded Larry David’s Fish in the Dark, Matthew Morrison in Finding Neverland and the musical version of Doctor Zhivago. The lion’s share went to Something Rotten, Fun Home, The Curious Incident of the Dog in the Night-time. Helen Mirren was nominated for Best Actress in The Audience as Queen Elizabeth II, making it possible for her to become the first actress to get a Tony for the same role she won an Oscar for in a movie. Bradley Cooper was nominated for The Elephant Man. For a new musical Sting was nominated for– and should win–for “The Last Ship.”

Alan Cumming and Kristen Chenoweth are hosting the show on CBS, June 7th.

keep refreshing…

Nominations for the 2015 American Theatre Wing’s Tony Awards®
Presented by The Broadway League and the American Theatre Wing
Best Play
The Curious Incident of the Dog in the Night-Time
Author: Simon Stephens
Producers: Stuart Thompson, Tim Levy for NT America, Warner Bros. Theatre Ventures,
Nick Starr & Chris Harper for NT Productions, Bob Boyett, Roger Berlind, Scott M.
Delman, Roy Furman, Glass Half Full Productions, Ruth Hendel, Jon B. Platt, Prime
Number Group, Scott Rudin, Triple Play Broadway, The Shubert Organization, The
National Theatre
Disgraced
Author: Ayad Akhtar
Producers: The Araca Group, Lincoln Center Theater, Jenifer Evans, Amanda Watkins,
Richard Winkler, Rodger Hess, Stephanie P. McClelland, Tulchin/Bartner Productions,
Jessica Genick, Jonathan Reinis, Carl Levin/Ashley De Simone/TNTDynaMite
Productions, Alden Bergson/Rachel Weinstein, Greenleaf Productions, Darren
DeVerna/Jere Harris, The Shubert Organization, The David Merrick Arts Foundation
Hand to God
Author: Robert Askins
Producers: Kevin McCollum, Broadway Global Ventures, CMC, Morris Berchard,
Mariano V. Tolentino, Jr., Stephanie Kramer, LAMS Productions, DeSimone/Winkler,
Joan Raffe & Jhett Tolentino, Timothy Laczynski, Lily Fan, Ayal Miodovnik, Jam
Theatricals, Ensemble Studio Theatre, MCC Theater
Wolf Hall Parts One & Two
Co-Authors: Hilary Mantel and Mike Poulton
Producers: Jeffrey Richards, Jerry Frankel, Matthew Byam Shaw, Nia Janis & Nick
Salmon for Playfull Productions UK, Carole Shorenstein Hays, Jam Theatricals, Ron
Kastner, Kyodo Tokyo, Inc., Tulchin Bartner Productions, WLE MSG, Jane Bergère,
Scott M. Delman, Rebecca Gold, Just for Laughs Theatricals, Kit Seidel, Triple Play
Productions, Gabrielle Palitz, Georgia Gatti, Jessica Genick, Will Trice, The Shubert
Organization, The Royal Shakespeare Company
Best Musical
An American in Paris
Producers: Stuart Oken, Van Kaplan, Roy Furman, Stephanie McClelland, Darren
Bagert, Carole L. Haber, James Nederlander, Five Cent Productions, Michael Leavitt,
Apples and Oranges Studios/Dominion Pictures, Roger Berlind/Arch Road, Simone
Genatt Haft/Marc Routh, Triptyk Studios/Spencer Ross, Ed Walson/Peter May, Adam
Zotovich/Celia Atkin, Eugene Beard/Julie Boardman/Kalish-Weinstein, Stuart
Ditsky/Jim Herbert/Sandy Robertson, Suzanne Friedman/Independent Presenters
Network/Wonderful Productions, The Leonore S. Gershwin 1987 Trust/Jenkins-
Taylor/Proctors, Harriet Newman Leve/Jane Dubin/Sarabeth Grossman, Caiola
Productions/Jennifer Isaacson/Raise the Curtain, Elephant Eye Theatrical & Pittsburgh
CLO, Théâtre du Châtelet
Fun Home
Producers: Fox Theatricals, Barbara Whitman, Carole Shorenstein Hays, Tom Casserly,
Paula Marie Black, Latitude Link, Terry Schnuck/Jack Lane, The Forstalls, Nathan
Vernon, Mint Theatrical, Elizabeth Armstrong, Jam Theatricals, Delman Whitney,
Kristin Caskey & Mike Isaacson, The Public Theater, Oskar Eustis, Patrick Willingham
Something Rotten!
Producers: Kevin McCollum, Broadway Global Ventures, CMC, Mastro/Goodman, Jerry
& Ronald Frankel, Morris Berchard, Kyodo Tokyo Inc., Wendy Federman, Barbara
Freitag, LAMS Productions, Winkler/DeSimone, Timothy Laczynski, Dan Markley,
Harris/Karmazin, Jam Theatricals, Robert Greenblatt, Jujamcyn Theaters
The Visit
Producers: Tom Kirdahy, Edgar Bronfman, Jr., Tom Smedes, Hugh Hayes, Peter Stern,
Judith Ann Abrams, Rich Affannato, Hunter Arnold, Carl Daikeler, Ken Davenport,
Bharat Mitra & Bhavani Lev, Peter May, Ted Snowdon, Bruno Wang Productions,
Taylor Cleghorn, Sandi Moran, Mark Lee & Ed Filipowski, Blodgett Calvin Family,
Gabrielle Palitz/Weatherby & Fishman LLC, Marguerite Hoffman/Jeremy Youett, Carlos
Arana, Veenerick & Katherine Vos Van Liempt, 42nd.Club/Silva Theatrical, Kate
Cannova/Terry Loftis, The Shubert Organization, Williamstown Theatre Festival
Best Revival of a Play
The Elephant Man
Producers: James L. Nederlander, Terry Allen Kramer, Catherine Adler, Roger Berlind,
Caiola Productions, Patrick Catullo, Roy Furman, Larry Hirschhorn, Jeffrey Finn
Productions, Van Kaplan, Edward M. Kaufmann, Hal Luftig, Arielle Tepper Madover,
Peter May, Stephanie P. McClelland, The Shubert Organization, Douglas Smith,
Jonathan M. Tisch, WLE MSG, LLC., Scott & Brian Zeilinger, Williamstown Theatre
Festival
Skylight
Producers: Robert Fox, Scott Rudin, Eli Bush, Roger Berlind, William Berlind, Roy
Furman, Jon B. Platt, The Shubert Organization, Stephanie P. McClelland, Catherine
Adler, Jay Alix & Una Jackman, Scott M. Delman, Heni Koenigsberg, Spring Sirkin,
Stuart Thompson, True Love Productions, The Araca Group, Carlos Arana, David
Mirvish, Joey Parnes, Sue Wagner, John Johnson
This Is Our Youth
Producers: Scott Rudin, Eli Bush, Roger Berlind, William Berlind, Jon B. Platt, Roy
Furman, The Shubert Organization, Ruth Hendel, Scott M. Delman, Stephanie P.
McClelland, Sonia Friedman, Tulchin Bartner, The Araca Group, Heni Koenigsberg,
Daryl Roth, Joan Raffe & Jhett Tolentino, Catherine & Fred Adler, Joey Parnes, Sue
Wagner, John Johnson, Steppenwolf Theatre Company
You Can’t Take It with You
Producers: Jeffrey Richards, Jerry Frankel, Jam Theatricals, Dominion Pictures,
Gutterman & Winkler, Daryl Roth, Terry Schnuck, Jane Bergère, Caiola Productions,
Rebecca Gold, Laruffa & Hinderliter, Larry Magid, Gabrielle Palitz, Spisto & Kierstead,
SunnySpot Productions, Venuworks Theatricals, Jessica Genick, Will Trice, Roundabout
Theatre Company, Todd Haimes, Harold Wolpert, Julia C. Levy, Sydney Beers
Best Revival of a Musical
The King and I
Producers: Lincoln Center Theater, André Bishop, Adam Siegel, Hattie K. Jutagir,
Ambassador Theatre Group
On the Town
Producers: Howard and Janet Kagan, Severn Partners Entertainment, Bruce Robert Harris
and Jack W. Batman, Paula Marie Black, Nigel Lythgoe, Michael J. Moritz,, Jr.,
Mahoney/Alden/Badway, Ambassador Theatre Group, Margie and Bryan Weingarten,
Kim Schall, Michael Rubenstein, Terry/Louise/Chris Lingner, Brunish & Trinchero,
Stephanie Rosenberg, Laruffa & Hinderliter, Rubinstein/Handleman, Lizbeth Bintz, Riki
Kane Larimer, 24 Hour Adventure Production, A&A Gordon, Matt Ross/Ben
Feldman/Pamela Cooper, Barrington Stage Company
On the Twentieth Century
Producers: Roundabout Theatre Company, Todd Haimes, Harold Wolpert, Julia C. Levy,
Sydney Beers
Best Book of a Musical
An American in Paris
Craig Lucas
Fun Home
Lisa Kron
Something Rotten!
Karey Kirkpatrick and John O’Farrell
The Visit
Terrence McNally
Best Original Score (Music and/or Lyrics) Written for the Theatre
Fun Home
Music: Jeanine Tesori
Lyrics: Lisa Kron
The Last Ship
Music & Lyrics: Sting
Something Rotten!
Music & Lyrics: Wayne Kirkpatrick and Karey Kirkpatrick
The Visit
Music: John Kander
Lyrics: Fred Ebb
Best Performance by an Actor in a Leading Role in a Play
Steven Boyer, Hand to God
Bradley Cooper, The Elephant Man
Ben Miles, Wolf Hall Parts One & Two
Bill Nighy, Skylight
Alex Sharp, The Curious Incident of the Dog in the Night-Time
Best Performance by an Actress in a Leading Role in a Play
Geneva Carr, Hand to God
Helen Mirren, The Audience
Elisabeth Moss, The Heidi Chronicles
Carey Mulligan, Skylight
Ruth Wilson, Constellations
Best Performance by an Actor in a Leading Role in a Musical
Michael Cerveris, Fun Home
Robert Fairchild, An American in Paris
Brian d’Arcy James, Something Rotten!
Ken Watanabe, The King and I
Tony Yazbeck, On the Town
Best Performance by an Actress in a Leading Role in a Musical
Kristin Chenoweth, On the Twentieth Century
Leanne Cope, An American in Paris
Beth Malone, Fun Home
Kelli O’Hara, The King and I
Chita Rivera, The Visit
Best Performance by an Actor in a Featured Role in a Play
Matthew Beard, Skylight
K. Todd Freeman, Airline Highway
Richard McCabe, The Audience
Alessandro Nivola, The Elephant Man
Nathaniel Parker, Wolf Hall Parts One & Two
Micah Stock, It’s Only a Play
Best Performance by an Actress in a Featured Role in a Play
Annaleigh Ashford, You Can’t Take It with You
Patricia Clarkson, The Elephant Man
Lydia Leonard, Wolf Hall Parts One & Two
Sarah Stiles, Hand to God
Julie White, Airline Highway
Best Performance by an Actor in a Featured Role in a Musical
Christian Borle, Something Rotten!
Andy Karl, On the Twentieth Century
Brad Oscar, Something Rotten!
Brandon Uranowitz, An American in Paris
Max von Essen, An American in Paris
Best Performance by an Actress in a Featured Role in a Musical
Victoria Clark, Gigi
Judy Kuhn, Fun Home
Sydney Lucas, Fun Home
Ruthie Ann Miles, The King and I
Emily Skeggs, Fun Home
Best Scenic Design of a Play
Bunny Christie and Finn Ross, The Curious Incident of the Dog in the Night-Time
Bob Crowley, Skylight
Christopher Oram, Wolf Hall Parts One & Two
David Rockwell, You Can’t Take It with You
Best Scenic Design of a Musical
Bob Crowley and 59 Productions, An American in Paris
David Rockwell, On the Twentieth Century
Michael Yeargan, The King and I
David Zinn, Fun Home
Best Costume Design of a Play
Bob Crowley, The Audience
Jane Greenwood, You Can’t Take It with You
Christopher Oram, Wolf Hall Parts One & Two
David Zinn, Airline Highway
Best Costume Design of a Musical
Gregg Barnes, Something Rotten!
Bob Crowley, An American in Paris
William Ivey Long, On the Twentieth Century
Catherine Zuber, The King and I
Best Lighting Design of a Play
Paule Constable, The Curious Incident of the Dog in the Night-Time
Paule Constable and David Plater, Wolf Hall Parts One & Two
Natasha Katz, Skylight
Japhy Weideman, Airline Highway
Best Lighting Design of a Musical
Donald Holder, The King and I
Natasha Katz, An American in Paris
Ben Stanton, Fun Home
Japhy Weideman, The Visit
Best Direction of a Play
Stephen Daldry, Skylight
Marianne Elliott, The Curious Incident of the Dog in the Night-Time
Scott Ellis, You Can’t Take It with You
Jeremy Herrin, Wolf Hall Parts One & Two
Moritz von Stuelpnagel, Hand to God
Best Direction of a Musical
Sam Gold, Fun Home
Casey Nicholaw, Something Rotten!
John Rando, On the Town
Bartlett Sher, The King and I
Christopher Wheeldon, An American in Paris
Best Choreography
Joshua Bergasse, On the Town
Christopher Gattelli, The King and I
Scott Graham & Steven Hoggett for Frantic Assembly, The Curious Incident of the Dog
in the Night-Time
Casey Nicholaw, Something Rotten!
Christopher Wheeldon, An American in Paris
Best Orchestrations
Christopher Austin, Don Sebesky, Bill Elliott, An American in Paris
John Clancy, Fun Home
Larry Hochman, Something Rotten!
Rob Mathes, The Last Ship
* * *
Recipients of Awards and Honors in Non-competitive Categories
Special Tony Award for Lifetime Achievement in the Theatre
Tommy Tune
Special Tony Award
John Cameron Mitchell
Regional Theatre Tony Award
Cleveland Play House, Cleveland, Ohio
Isabelle Stevenson Tony Award
Stephen Schwartz
Tony Honors for Excellence in the Theatre
Arnold Abramson
Adrian Bryan-Brown
Gene O’Donovan
* * *
Tony Nominations by Production
An American in Paris – 12
Fun Home – 12
Something Rotten! – 10
The King and I – 9
Wolf Hall Parts One & Two – 8
Skylight – 7
The Curious Incident of the Dog in the Night-Time – 6
Hand to God – 5
On the Twentieth Century – 5
The Visit – 5
You Can’t Take It with You – 5
Airline Highway – 4
The Elephant Man – 4
On the Town – 4
The Audience – 3
The Last Ship – 2
Constellations – 1
Disgraced – 1
Gigi – 1
The Heidi Chronicles – 1
It’s Only a Play – 1
This Is Our Youth – 1
#TonyAwards
www.TonyAwards.com

Mick Jagger Posts Tweet on Deceased Fiancee’s Birthday

Roger Friedman
-
0
Mick Jagger Posts Tweet on Deceased Fiancee’s Birthday

Mick Jagger remembers L’Wren Scott on her birthday. She committed suicide on March 17, 2014. I think it’s LOL that Johnny Pigozzi got a photo credit as large as the rest of the message. Billing is everything, I’m sure someone once said.

“General Hospital” Wins 3 of 4 Main Acting Daytime Emmys But ABC Doesn’t Let Actors on CBS “The Talk”–Plus, Charo is Still Alive

Roger Friedman
-
0
“General Hospital” Wins 3 of 4 Main Acting Daytime Emmys But ABC Doesn’t Let Actors on CBS “The Talk”–Plus, Charo is Still Alive

Nice to see that ABC Daytime is still a reasonable place: three of the four main acting prizes on Sunday night’s Daytime Emmys went to ABC’s “General Hospital.” So what did ABC do? They refused to allow Anthony Geary, Maura West and Chad Duell appear on CBS’s “The Talk” special devoted to the soaps yesterday. Why? ABC’s “The View” is losing viewers to “The Talk.” Really, this is what goes on in daytime television. “Tootsie” and “Soapdish” were mild when you think about it.

“General Hospital” should have won for Best Writing and for Best Daytime Drama. Somehow it keeps missing the mark. There was a tie for Best Soap– “Days of our Lives,” which is psychedelically bad, and “The Young and the Restless,” which is sort of like a slow moving virus, each won. “The Bold and the Beautiful,” a show about hair extensions and incest, won Best Writing and Best Directing.

There isn’t much actual good acting on soaps. We know that. The best actors were on the New York soaps, which don’t exist anymore. Some of those actors went west and got jobs. One of them was Maura West, who was on “As the World Turns” for a long time and won two Emmys. She won Best Actress again on Sunday for “General Hospital,” where she slinks around like a combination of Jean Harlow and Carole Lombard. I met Maura West for two seconds last September in Toronto. Her son was in “Boychoir,” the Dustin Hoffman movie recently dumped by its distributor. She seemed like a lot of fun. Congrats to her. Next year, if her character miraculously outlives cancer, she’ll have competition from Gina Tognoni on “The Young and the Restless.” She’s worth watching at all times.

I watched the Daytime Emmys on DVR and fast forwarded as much as possible. (On Sunday night it conflicted with “Mad Men” and the Mariah Carey single launch.) What a nutty show. Has Tyra Banks had a total face lift? Do all the outfits come from Kohl’s? Can’t they raise the mics when tall people win?

I discovered that Charo is still alive! She’s only 69 years old. (I thought, yeah, she was long gone, along with Topo Gigio.) This means she was a wise and prescient 21 when she married band leader Xavier Cugat in 1966. He was 66. (He was literally born on the first day of the 20th century. Cool.) Cugat, a real life Ricky Ricardo, died 14 years later and must have left young Charo in good shape financially. Charo has been famous her entire life and she still has a good figure. I’m not sure what she was doing on this show. But hey, why not?

Betty White got the Lifetime Achievement Award. She is now 93 and pretty much cogent and mobile. God bless her. She’s a total invention of television, literally, having started on the tube in 1949.

Men are pretty much like furniture on soap operas. They just move around the women, who generally lead the stories. The men are usually like Kevin Kline in “Soapdish.” They get killed off, they come back even if they’re decapitated. On Sunday night Anthony Geary, who’s been on soaps for 40 years, won another Emmy. He plays Luke of the famous (from the 80s) Luke and Laura. Laura is frozen somewhere. Geary just keeps on going. It’s quite an achievement. He’s played every story you can imagine. And it never gets old.

My hat is off to all these people. They all keep straight faces. I just hope this isn’t the stuff they’ve been watching on Mars all this time.

Nirvana: Kurt Cobain Doc Filmmaker: “You can’t celebrate with this. There is a pall of sadness that hangs over it.”

Leah Sydney
-
0
Nirvana: Kurt Cobain Doc Filmmaker: “You can’t celebrate with this. There is a pall of sadness that hangs over it.”

Frances Bean Cobain made a rare public appearance last week at the Egyptian Theater in Hollywood for Brett Morgen’s compelling and haunting documentary, about France’s late father, “Kurt Cobain: Montage of Heck.” The film shows this week in New York and L.A., and on HBO on May 4th.

Cobain, lead singer of Nirvana, famously killed himself in 1994 when Frances, his only child, was only 20 months old. At the Egyptian, Frances, a visual artist, took the stage in a Goth outfit–to the director’s surprise– after Morgen spoke to the audience. She eloquently told the crowd that, “When I first met Brett, I told him to do what he was going to do as a filmmaker, but to keep it honest. That trust and respect is priceless. This was a serious labor of love for him; it’s been eight years. That’s why I wanted to come up here. I thought I’d only see it once, but I’ve seen in six times. There are extremely dark parts, but this does provide Nirvana fans all over the world, about who he was without the romanticism. I didn’t know Kurt, but I feel he would have been proud of this film.”

At the after party I asked Morgen how he approached this weighty subject and all that goes with it.

“When I went into this film, I figured that it would be all Kurt, that there wouldn’t be interviews with anybody else,” the director said. “I realized I couldn’t do that, with the exception of Rolling Stone’s David Fricke’s interview, which runs through the movie. But in all the others, he was too distant. I kind of freaked out. I called my line producer and said how much money did we spend already? Cause I wanted to give the money back, it was six and a half years into the project. I wanted to stop it. I didn’t think we could do the film the way I envisioned it. I never experienced this as a filmmaker. It was a really tough time, because I was so into it. I was at a loss, I didn’t know how to make the film. Then I started to talk to the people in his life and it all came together.“

I told him he looked surprised when he saw Frances come up to the podium.

Brett replied, “I had no idea that Frances wanted to speak. Frances agreed from the beginning that she would take one picture backstage at the premiere of the film. That was her only obligation. Since she saw the film, within 10 minutes she tweeted it out and has been completely supportive ever since. When I first met Frances she took my hand and said, “ I just met you, but I already know you more than I know my father.” This film has been cathartic and therapeutic for both Frances and [her mother] Courtney [Love], and the relationship between them even with Frances and her father.”

I asked him what the biggest surprise for him was as a filmmaker?

He answered, “I had no idea at any point in making this film that Kurt connected with as many people around the globe than he did. That has been absolutely humbling. It’s a pretty aggressive movie and I thought it would be polarizing. But the response has been beyond what I ever expected. You make a movie like ‘The Avengers,’ and the film opens and you high five each other and drink champagne. You can’t celebrate with this. There is a pall of sadness that hangs over it. I’ve spent four months traveling with this film and every time the movie is over, people are quiet. As a filmmaker, when the credits come up people are just stunned.”

1...1,6371,6381,639...2,324Page 1,638 of 2,324

Hollywood to the Hudson

Company

Trending

Categories

© Showbiz411.com