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Lucy and Ricky Find Their Fred and Ethel as J.K. Simmons, Nina Arianda Join “Being the Ricardos”

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Aaron Sorkin has a lot of ‘splainin’ to do. And he’s going to do it soon.

Sorkin’s “Being the Ricardo’s” has found its Fred and Ethel Mertz. They are J.K. Simmons and Nina Arianda. He’s an Oscar winner, she’s a Tony winner. I have to say, they sound perfect.

Simmons and Arianda will play actors William Frawley and Vivian Vance, the famed second bananas to Lucille Ball and Desi Arnaz as they shoot an episode of “I Love Lucy” over the course of a week. Nicole Kidman and Javier Bardem will play the Ricardos.

This is either going to work or not, big time. But I have high hopes for it. Now Sorkin has three Oscar winners. If this goes right, Nina Arianda will finally be in the big leagues and have her own Oscar. She’s enormously talented. I can’t wait to see if they’re casting Little Ricky, Mrs. Trumbull, and Lucy’s mother.

Escape Artists will produce the film for Amazon Studios, with Todd Black, Jason Blumenthal and Steve Tisch as producers and Jenna Block and David Bloomfield as executive producers. Ball and Arnaz’s children, Lucie Arnaz and Desi Arnaz Jr., will also serve as executive producers with Stuart Besser and Lauren Lohman.

When does it shoot? Whenever we’re all vaccinated. In the meantime, Baba-loo!

Here: Motion Picture Academy Shortlists Include Two Best Song Entries for Diane Warren, Plus Best Score, Doc, Make Up & Hair, Short Films

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The Academy of Motion Picture Arts and Sciences today announced shortlists in nine categories for the 93rd Academy Awards®: Documentary Feature, Documentary Short Subject, International Feature Film, Makeup and Hairstyling, Music (Original Score), Music (Original Song), Animated Short Film, Live Action Short Film and Visual Effects.

Of note: Diane Warren has only two songs on the short list this year. She’s had 11 nominations has has never won! This is ridiculous. Either of her songs, “lo si (Seen): from “The Life Ahead” and Free” from “The One and Only Ivan” could win and both could finish in the top 5.

Also, this very site featured “The Letter Room” from Elvira Lind last week exclusively. Now it’s made the short list. On to to the top 5 we go!

DOCUMENTARY FEATURE
Fifteen films will advance in the Documentary Feature category for the 93rd Academy Awards.  Two hundred thirty-eight films were eligible in the category.  Members of the Documentary Branch vote to determine the shortlist and the nominees.

The films, listed in alphabetical order by title, are:

“All In: The Fight for Democracy”
“Boys State”
“Collective”
“Crip Camp”
“Dick Johnson Is Dead”
“Gunda”
“MLK/FBI”
“The Mole Agent”
“My Octopus Teacher”
“Notturno”
“The Painter and the Thief”
“76 Days”
“Time”
“The Truffle Hunters”
“Welcome to Chechnya”

DOCUMENTARY SHORT SUBJECT
Ten films will advance in the Documentary Short Subject category for the 93rd Academy Awards.  One hundred fourteen films qualified in the category.  Members of the Documentary Branch vote to determine the shortlist and the nominees.

The films, listed in alphabetical order by title, are:

“Abortion Helpline, This Is Lisa”
“Call Center Blues”
“Colette”
“A Concerto Is a Conversation”
“Do Not Split”
“Hunger Ward”
“Hysterical Girl”
“A Love Song for Latasha”
“The Speed Cubers”
“What Would Sophia Loren Do?”

INTERNATIONAL FEATURE FILM
Fifteen films will advance to the next round of voting in the International Feature Film category for the 93rd Academy Awards.  Films from 93 countries were eligible in the category.

Academy members from all branches were invited to participate in the preliminary round of voting and must have met a minimum viewing requirement to be eligible to vote in the category.

In the nominations round, Academy members from all branches are invited to opt in to participate and must view all 15 shortlisted films to vote.

The films, listed in alphabetical order by country, are:

Bosnia and Herzegovina, “Quo Vadis, Aida?”
Chile, “The Mole Agent”
Czech Republic, “Charlatan”
Denmark, “Another Round”
France, “Two of Us”
Guatemala, “La Llorona”
Hong Kong, “Better Days”
Iran, “Sun Children”
Ivory Coast, “Night of the Kings”
Mexico, “I’m No Longer Here”
Norway, “Hope”
Romania, “Collective”
Russia, “Dear Comrades!”
Taiwan, “A Sun”
Tunisia, “The Man Who Sold His Skin”

MAKEUP AND HAIRSTYLING
Ten films will advance in the Makeup and Hairstyling category for the 93rd Academy Awards.  All members of the Academy’s Makeup Artists and Hairstylists Branch will be invited virtually to view seven-minute excerpts from each of the 10 shortlisted films on Saturday, March 6, 2021.  Branch members will vote to nominate five films for final Oscar® consideration.

The films, listed in alphabetical order by title, are:

“Birds of Prey and the Fantabulous Emancipation of One Harley Quinn”
“Emma”
“The Glorias”
“Hillbilly Elegy”
“Jingle Jangle: A Christmas Journey”
“The Little Things”
“Ma Rainey’s Black Bottom”
“Mank”
“One Night in Miami…”
“Pinocchio”

MUSIC (ORIGINAL SCORE)
Fifteen scores will advance in the Original Score category for the 93rd Academy Awards.  One hundred thirty-six scores were eligible in the category.  Members of the Music Branch vote to determine the shortlist and the nominees.

The scores, listed in alphabetical order by film title, are:

“Ammonite”
“Blizzard of Souls”
“Da 5 Bloods”
“The Invisible Man”
“Jingle Jangle: A Christmas Journey”
“The Life Ahead (La Vita Davanti a Se)”
“The Little Things”
“Mank”
“The Midnight Sky”
“Minari”
“Mulan”
“News of the World”
“Soul”
“Tenet”
“The Trial of the Chicago 7”

MUSIC (ORIGINAL SONG)
Fifteen songs will advance in the Original Song category for the 93rd Academy Awards.  One hundred five songs were eligible in the category.  Members of the Music Branch vote to determine the shortlist and the nominees.

The original songs, along with the motion picture in which each song is featured, are listed below in alphabetical order by film title and song title:

“Turntables” from “All In: The Fight for Democracy”
“See What You’ve Done” from “Belly of the Beast”
“Wuhan Flu” from “Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan”
“Husavik” from “Eurovision Song Contest: The Story of Fire Saga”
“Never Break” from “Giving Voice”
“Make It Work” from “Jingle Jangle: A Christmas Journey”
“Fight For You” from “Judas and the Black Messiah”
“lo Sì (Seen)” from “The Life Ahead (La Vita Davanti a Se)”
“Rain Song” from “Minari”
“Show Me Your Soul” from “Mr. Soul!”
“Loyal Brave True” from “Mulan”
“Free” from “The One and Only Ivan”
“Speak Now” from “One Night in Miami…”
“Green” from “Sound of Metal”
“Hear My Voice” from “The Trial of the Chicago 7”

ANIMATED SHORT FILM
Ten films will advance in the Animated Short Film category for the 93rd Academy Awards.  Ninety-six films qualified in the category.  Members of the Short Films and Feature Animation Branch vote to determine the shortlist and the nominees.

The films, listed in alphabetical order by title, are:

“Burrow”
“Genius Loci”
“If Anything Happens I Love You”
“Kapaemahu”
“Opera”
“Out”
“The Snail and the Whale”
“To Gerard”
“Traces”
“Yes-People”

LIVE ACTION SHORT FILM
Ten films will advance in the Live Action Short Film category for the 93rd Academy Awards.  One hundred seventy-four films qualified in the category.  Members of the Short Films and Feature Animation Branch vote to determine the shortlist and the nominees.

The films, listed in alphabetical order by title, are:

“Bittu”
“Da Yie”
“Feeling Through”
“The Human Voice”
“The Kicksled Choir”
“The Letter Room”
“The Present”
“Two Distant Strangers”
“The Van”
“White Eye”

VISUAL EFFECTS
Ten films remain in the running in the Visual Effects category for the 93rd Academy Awards.  The Visual Effects Branch Executive Committee determined the shortlist.  All members of the Visual Effects Branch will be invited virtually to view 10-minute excerpts from each of the shortlisted films on Saturday, March 6, 2021.  Following the screenings, members will vote to nominate five films for final Oscar consideration.

The films, listed in alphabetical order by title, are:

“Birds of Prey and the Fantabulous Emancipation of One Harley Quinn”
“Bloodshot”
“Love and Monsters”
“Mank”
“The Midnight Sky”
“Mulan”
“The One and Only Ivan”
“Soul”
“Tenet”
“Welcome to Chechnya”

Nominations voting begins on Friday, March 5, 2021, and concludes on Wednesday, March 10, 2021.

Nominations for the 93rd Academy Awards will be announced on Monday, March 15, 2021.

The 93rd Oscars® will be held on Sunday, April 25, 2021, and will be televised live on ABC and in more than 225 countries and territories worldwide.

How Diana Ross Tried to Push Her Off the Stage at Motown 25: Mary Wilson Tells the Story in Her Own Words

Mary Wilson was always a stand-up girl, a team player in the Supremes. But in the mid 1980s she finally published a memoir, “Dreamgirl: My Life as a Supreme” to set the record straight about what she had endured at the hands of Diana Ross and Berry Gordy.

In “Dreamgirl,” she describes what happened at the taping of “Motown 25,” the 1983 ABC special that was supposed to reunite all the stars from the fabled label. Mary hadn’t seen Diana Ross in many years after Diana left the group to become a solo act and movie star. Indeed, Mary hadn’t even sung on the last single recorded under the name DIana Ross and the Supremes. Diana made the record with other singers. Mary heard it on the radio for the first time.

Here’s Mary’s recollection of taping Motown 25, and how Diana — who was at her diva peak — carried on:

“We started singing “Someday We’ll Be Together.” Then something went wrong. Diane seemed genuinely confused. Attempting to distance herself from us, she took two steps closer to the audience. As agreed, Cindy and I stepped two paces forward too. Diane again moved forward; we followed.

“The third time it happened, Diane turned and forcefully shoved me aside. The audience gasped, appalled. Diane’s eyes widened in shock at the realization that I wasn’t about to back down, and that all these people had just witnessed her little tantrum. She got so flustered she lost her place in the song, so I sang a line, thinking Diane would compose herself and assume the lead again in a few seconds. I kept singing lead. The only thing that she could think of doing was to begin to talk while I sang.

“She proceeded to speak to Berry, out in the audience. “Berry, come on down,” I called while the music continued. With that comment, Diane grabbed my microphone and pushed it away from my face. “It’s been taken care of!” she snapped at me with fire in her eyes. The audience gasped again. I was told later that Suzanne dePasse panicked and sent out Smokey Robinson to defuse the crisis.

“In seconds the stage filled with other artists, and the Supremes “reunion” was over. Diane had given the media the cat fight they were praying for, and they licked their collective chops in delight. I have never been so mad at her in my entire career. Just when I thought that we were at a stage where she was going to bury the hatchet, she went and pulled something like that. I was hurt and stunned.”

 

Hollywood Plans a “Wizard of Oz” Remake And You Know It’s Already a Very, Very Bad Idea

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Uh oh.

New Line Cinema at Warner Bros. is planning a “Wizard of Oz” remake. The 1939 classic is just that, a classic, and there’s no way it can be improved. So why not ruin it?

Instead of booking a director with musicals in their background, they’ve given the job to the director of HBO’s Emmy winning “Watchmen.” Warner’s had “Wizard of Oz” in their library, so they can do anything they want to it– and they will.

The only bright side here is that Marc Platt is one of the producers, so maybe he’ll get new songs from Pasek and Paul, his “La La Land” and “Evan Hansen” composers.

But really, no remakes every work. They are all bad. One by one they come and go and are all horrid. Think of “Psycho” from Gus van Sant. Or the updated “Heartbreak Kid.” No one wants to see these things again.

You can almost imagine a new “Wizard,” with James Corden as the Cowardly Lion, Jim Carrey as the Scarecrow, Harry Styles as the Tin Man, and Ariana Grande as Dorothy. The Wizard will be played by Cedric the Entertainer.  The Flying Monkeys will be unicorns. The Munchkins will now be Little People. All the villains will claim to be misunderstood. The Wicked Witch of the West — Meryl Streep — will be in therapy.

No. no. no. Maybe Toto’s heirs can sue to stop this.

Watch the Trailer for “Genius: Aretha Franklin” Now a Four Night Mini-Series Coming in March to National Geographic

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Here is the trailer for the National Geographic mini series “Genius: Aretha Franklin.” What used to be an 8 part series is now a four night showing beginning on Sunday, March 21st. Cynthia Erivo stars as Aretha, and Courtney B. Vance plays her father, Reverend C.L. Franklin. Clive Davis and Atlantic Records’ Craig Kallman are Executive Producers. Brian Graer and Ron Howard of Imagine Entertainment produce the series.

I think we’re going to see a lot from Aretha’s Atlantic years on the first two nights, and more from her Arista years in the second two nights. “Genius” should be a forerunner in the Emmys race in this summer. Erivo is amazing, you can see it from the trailer. All of this precedes “Respect,” the Jennifer Hudson – Aretha bio due in August on the big screen. It’s an Aretha year! PS Aretha and Mary Wilson knew each other very well, they were almost the same age and from the same neighborhood in Detroit. I hope they are having a reunion today in heaven.

Here’s a breakdown of episodes:
RESPECT
Sunday, March 21, at 9/8c
Desperate for a hit, Aretha travels to Muscle Shoals in 1967 to record her first album with Atlantic Records. After suffering the loss of her surrogate mother, Little Re braves her first solo in 1953, in her father’s, C.L. Franklin, church.

UNTIL THE REAL THING COMES ALONG
Sunday, March 21, at 10/9c
Struggling to find her sound, Aretha catches the attention of Jerry Wexler at Atlantic Records in 1966. Meanwhile, Little Re has her first touring experience on the Gospel Circuit in 1954 with C.L. Franklin and meets her idol, Clara Ward.

DO-RIGHT WOMAN
Monday, March 22, at 9/8c
Aretha juggles her music career and her commitment to the civil rights movement, led by Martin Luther King Jr., in 1967 and 1968. Meanwhile, Little Re leaves behind her newborn child to return to the Gospel Circuit in 1955, meeting with music legends James Cleveland and Little Sammie Bryant.

UNFORGETTABLE
Monday, March 22, at 10/9c
Aretha is featured on the cover of Time Magazine in 1968, but she’s devastated when the article focuses on the scandalous details of her personal life. Barbara Franklin and Young C.L. Franklin struggle to establish themselves in Memphis in 1941, before Little Re is born.

YOUNG, GIFTED, AND BLACK
Tuesday, March 23, at 9/8c
Aretha, inspired by Angela Davis and the Soledad Brothers, records her protest album “Young, Gifted and Black” in 1970. Despite Jerry Wexler’s uncertainty, the album is a success. Barbara Franklin makes a decision that has a devastating effect on Little Re in 1951.

AMAZING GRACE
Tuesday, March 23, at 10/9c
Aretha records her best-selling live Gospel album “Amazing Grace” in 1972 at New Temple Missionary Baptist Church, ignoring her sibling’s pleas to record instead at New Bethel with their father, C.L. Franklin. Little Re discovers that she’s pregnant with her second child, forcing her to leave school. While pregnant, she records her first album at New Bethel in 1956.

CHAIN OF FOOLS
Wednesday, March 24, at 9/8c
As the Queen of Soul enters the age of disco, Aretha will do anything to remain relevant—including stealing an opportunity from her sister Carolyn. She receives a GRAMMY nomination but is ultimately snubbed from winning the award. While at the ceremony, she meets with Arista founder Clive Davis. Meanwhile, Jerry Wexler leaves Atlantic Records, and he and Aretha part ways.

NO ONE SLEEPS
Wednesday, March 24, at 10/9c
Despite significant emotional losses, including a second divorce and the death of her father in 1984, Aretha pushes herself artistically and triumphs. She begins a successful career at Arista, with the help of Clive Davis, and in an unforgettable GRAMMY performance in 1998, she solidifies her eternal reign as the Queen of Soul.

Super Bowl Ratings Disappoint with “Just 96.4 Million,” But Queen Latifah Starts “Equalizer” with Not Bad 20 Million

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The long knives are out for the NFL. Super Bowl ratings, delayed by a day, came in and were disappointing.

The total number of viewers on CBS was “just 96.4 million.” The highly touted showdown between Tom Brady and Patrick Mahomes didn’t materialize as the KC Chiefs slept through the game, the Tampa Bay Bucs ran roughshod over them.

The game didn’t hit 100 million, and was the worst showing since 2007.

Frankly, NINETY SIX MILLION sounds good to me considering the season, the pandemic, and the fact that Colin Kaepernick still doesn’t have a job on a team.

Queen Latifah debuted in “The Equalizer” at 10:30pm after the Bowl and brought in 20 million viewers. That’s a great start for a solid new series with a black female lead. I mean, CBS should be dancing and opening Champagne. “The Equalizer” is a formula show with a big twist– huge multicultural infusion. The cast is excellent, and the production quality is very high. It’s a hit, and I hope we see it run for five to seven seasons. Bravo!

As for the Super Bowl, there are so many distractions now. The numbers are in decline anyway. CBS can count its blessings.

 

 

Diana Ross’s Tweet Reaction to Mary Wilson’s Death is Classic and Cold, Devoid of Emotion or Feeling

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CLICK HERE FOR MORE HEADLINES AND MARY WILSON’S OBIT

 

I’ll say this for Diana Ross: she’s consistent. In life she treated Mary Wilson, her singing partner in the Supremes, pretty badly. In death, Diana was not moved. She wrote on Twitter: “I just woke up to this news , my condolences to you Mary’s family ,I am reminded that each day is a gift ,I have so many wonderful memories of our time together “The Supremes ” will live on ,in our hearts”

Impersonal as that was, at least Diana remained true to herself. She treated Mary like an employee, someone who wasn’t equal to her in the Supremes or in life. She did the same thing to Florence Ballard, who was forced out of the group in the 60s and died in poverty. She was never kind to Florence’s replacement, Cindy Birdsong.

Back in 2004, Ross wanted Mary to go out on a Supremes 40th anniversary tour — as her backup singer! Diana would have been paid $10 million, Mary just $3 million. Diana would be the star. Mary turned it down. Diana went out anyway, with singers who’d been replacement Supremes long after Diana and Mary were out of the group. The tour was a flop.

Mary was vociferous about getting legislation so that random people couldn’t be called The Supremes. That’s why Diana is calling the group “The Supremes” with quotations. I’m sure once Mary is buried, Diana will try some kind of revival again, and reduce Mary to a footnote. We won’t let that happen.

Life isn’t fair, is it?

Meanwhile, R&B legend Sam Moore told us: “Mary will be missed on many levels. Mary was always someone I could count on to help fight to get the terrestrial radio bill passed through Congress so that when all of our music – every American recording artists music played on AM and FM radio – we could get paid and we could finally collect the thousands and thousands of dollars from around the world, which would be life-changing money for so many of us – our friends – our peers – all genres. I call every fan of Mary’s to write their senators and their congressmen and say ‘get the artist paid when their music is played on AM/FM radio’. In her memory pass a bill – stop cheating them while you’re making billions.”

RIP Magnificent Mary Wilson, 76, the Greatest Supreme of All, Motown Historian, Dynamic Singer Who Made History

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I am waking up to the horrible news that my friend, Mary Wilson, original member of the Supremes, has died at age 76. The reports say it was sudden. I’m gobsmacked.

I knew Mary for years before I asked her to be in my documentary, “Only the Strong Survive,” which was released in 2002. We filmed her in 1999 at the Westbury Music Fair, where was she was stopping on tour.

Mary was so many things: a great friend, of course, to a universe of people, not just me. She was the glue in the Motown recipe even though she’d been treated pretty badly by Berry Gordy and everyone in the “inner circle” for speaking her mind, demanding to be recognized as equal to Diana Ross and the other Motown stars.

So many memories: this was sometime in the early 90s, we were at an event at what used to be the Greene Street Cafe in Soho, Stevie Wonder was way at the other side of the room. Mary and I were talking and suddenly there was a beckoning. Stevie–you must go to him if he wants to talk to you– was so excited that Mary was in the room, we were pulled almost magnetically to him. He was overwhelmed in their reunion.

One of the last times I saw Mary was at the taping of the Motown special for the Grammys in Los Angeles two Januarys ago. She sat with Otis Williams of the Temptations and a miscellany of Motown singers, far from Diana Ross and Berry Gordy on the other side of the room. Even though Mary–who had become over the years a kind of Motown historian– was in featured in pre-taped interviews for the eventual TV show, she was ignored at the live event at the Shrine Auditorium. She was used to it.

She’d spoken her mind in the 1980s in her book, “Dreamgirl: My Life as a Supreme,” and had never been forgiven for it. She didn’t care. So many Motown singers who weren’t superstars, from Kim Weston and Brenda Holloway to the Marvelettes and so on, had been shunted aside by the main Motown machine as history was rewritten and Diana Ross was the focus of the story. But Mary refused to take scraps. She was such a sweetheart, and everyone who knew her knew that.

Mary also had suffered great loss. n January 1994, Mary and her 14-year-old son, Rafael, were involved in an accident on Interstate 15 between Los Angeles and Las Vegas when their Jeep Cherokee veered off the highway and overturned. Rafael died. Somehow she overcame that heartbreak and kept going for the rest of her family.

At the Motown taping, Mary looked like a million bucks. I took the big picture here that night. Despite being snubbed by Berry and Diana, she was still a star that night. And she would not back away, which was one of the things I loved about her. And admired. She knew her place: she was a star of the Supremes, a founding member, who’d had more hits than the Beatles in direct competition with them in 1964. Even when Diana left the group and recorded “Someday We’ll Be Together” with fake Supremes, Mary held her head high. And she refused to do an anniversary tour with Diana when she was offered less money. She wanted parity. Instead, she did her own tours, in smaller venues, but to rabid crowds who loved her and knew what a talent she was.

I adored her, so many people did. To lose Mary at 76 is a real tragedy for her family, and friends, and fans. Mary, god bless you. I will add another piece to this later today. RIP Mary.

 

large inside photo copyright 2021 Showbiz411.com

Claudia Conway, Feisty Teen Daughter of Kellyanne Conway, Auditions on “American Idol” This Sunday

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Claudia Conway is heading to “American Idol” this Sunday. Happy Valentine’s Day!

Claudia, 16, announced on TikTok tonight that she taped an audition on “Idol” back in November. She says she’s been singing and playing instruments her whole life, so jumped at the offer. “If American Idol reaches out to you, you don’t say no. That doesn’t happen.”

Conway says: “I know half the world sees me as a joke because of my parents’ bullshit, but I’m not a joke,” she says, “just a 16 year old with passions, trying to figure out her future.”

For “Idol,” this PR gold. Claudia has been in the news for months, railing against her parents who are the awful Trump lackey Kellyanne Conway and her estranged husband George Conway.

Claudia often swears off social media after getting into the national spotlight, but she always returns with something to top the last adventure. It was only two weeks ago that she was claiming abuse at the hands of her mother and asking the world for help. Claudia has willed herself into being a celebrity, and one who won’t exit the stage even though her 15 minutes are up. I give her credit. She’s her own marketing class.

“I think the story of what I said when I went on was very touching,” she concludes. It’s unclear if Claudia went with a parent to “Idol” or traveled by herself or with a team working for her. (LOL.) The “touching” story? Should be good.

Rest in Peace, Joe Allen: There’d Be No Restaurant Row without His Eponymous Eatery, and Orso, Bar Centrale

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Joe Allen was no Elaine Kaufman. He wasn’t sitting in his eatery on West 46th St. every night, entertaining and hosting the crowd. Sometimes he was at the bar. Meanwhile, everyone in the place after 10pm was from a Broadway show. You often made it over after a show was done to find an actor from that very show entertaining guests from out of town or having a drink from another play.

Joe Allen should be on the front page of tomorrow’s New York Times. Their people certainly ate at Joe’s tables for decades beginning in 1965. There was no Restaurant Row before Joe Allen, but since then the block between Eighth and Ninth Avenue has flourished with all kinds of hotspots.But if you wanted a beer and a burger or a pot pie or a salad in a comfy setting, you tried to get a reservation at Joe’s place.

In 1983, Joe went upscale and introduced Orso just to the left of his namesake pavilion. I can tell you that Orso was so “hot” and impossible to get into people fought for the tables. That heat went on for a decade. It was one of “the” places to go at lunch time, and definitely desired after theater. Orso was the complete opposite of the mother ship. Italian, hip, expensive. Actors only went there if someone was taking them.

In that time, Joe Allen also expanded to Los Angeles and London. For a while the Hollywood crowd was all over it. I think it was just too hard for Joe to keep up at a 3,000 mile difference, but I remember in the mid 80s when I’d get to L.A. and someone would say “Let’s go to Joe Allen,” because they thought I had an in from New York. It was either Joe Allen or Spago.

Eventually Joe went above the street level of West 46th St. adding Bar Centrale. It was really for after hours, with just tapas and drinks, no coffee or dessert. and no way to get in. That’s because the Big Name actors would go up there after seeing friends backstage.

Joe was not around much, and I often saw him up at Elaine’s, a million miles away at Second Ave and 88th St. He and Elaine started their places around the same time and they were far enough away from each other to divide up the celebrities and A-listers and still enjoy each other. When Fred Rappoport and I produced Elaine’s memorial service in 2011, Joe was one of the honored speakers.

There will be a lot of tributes to Joe online tonight. The great actress Holland Taylor wrote on Twitter: “Joe Allen NYC and ORSO fed and hosted me and mine my entire career; for a long time divine in LA; always HAFH in London; and then— the total *perfection* of Bar Centrale. RIP, Joe. You were truly one of the good guys.” Chita Rivera: “There’s only one #JoeAllen… Strong, Steady, Comforting and Reliable. He certainly will be missed but we will carry him with us forever. I know I shall.”

There isn’t an actor, director, writer, or journalist, or any of the other people connected to Broadway shows who hasn’t been fed by Joe Allen. They loved looking at the decor, which consisted of framed posters of shows that closed right away. We’d come in after seeing a turkey and say, Their poster should be up here tomorrow. 

In the months right before the pandemic, the restaurants had some plumbing issues, causing a limited menu. But everything was eventually sorted out. Unlike Elaine’s, Joe Allen was set up as a business. There will be no skulduggery with the owner gone. When Broadway returns, so will the trio of eateries that are the heart of the theater district. And we will toast Joe in every one of them, and thank him profusely for giving us the sustenance to sit through six hours shows, musicals that have no songs, and the joyous successes that make us feel alive again.

Thank you, Joe Allen, for everything.