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‘Hello Again’ Trailer: Sex-Fueled Musical Puts Broadway Greats In Ten Affairs Over Ten Decades — Watch

  • Indiewire
‘Hello Again’ Trailer: Sex-Fueled Musical Puts Broadway Greats In Ten Affairs Over Ten Decades — Watch
There is a very niche swath of Broadway lovers and lesbians who will be over the moon to see Audra McDonald and Martha Plimpton share a seductive scene in “Hello Again,” a film adaptation of Michael John Lachiusa’s 1993 musical which released its steamy new trailer today.

Read More: Why the ‘Swiss Army Man’ Directors Backed the Psychedelic Comedy-Musical ‘Snowy Bing Bongs’

Hello Again” tells ten love affairs set in each decade of the 20th century, following the sexual escapades of characters with names like The Whore, The College Boy, and The Young Thing. Lachiusa is best known for writing “The Wild Party,” which developed a cult following in the years since its Broadway debut in 1999. “Hello Again” is based on “La Ronde,” the 1897 play by Arthur Schnitzler which caused an uproar when it first played Berlin and Vienna in 1920.

Read More: ‘Dirty Dancing’ Review: ABC Musical Event Is Decidedly Not Worth Your Time

The movie stars six-time Tony Award winner Audra McDonald, as well as similarly lauded theater actors Martha Plimpton, T.R. Knight, Cheyenne Jackson, and Rumer Willis. “Hello Again” is directed by Tom Gustafson from a screenplay by Cory Krueckeberg, the same pair behind the 2012 musical comedy “Mariachi Gringo.”

How many Broadway stars can you find?

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See full article at Indiewire »

Bruce Lansbury, TV Producer and Brother of Angela Lansbury, Dies at 87

Bruce Lansbury, the veteran TV producer and writer known for his work on The Wild Wild West, Wonder Woman and Murder, She Wrote, which starred his older sister, Angela Lansbury, has died. He was 87.

The London-born Lansbury died Monday in La Quinta, Calif., after a battle with Alzheimer’s disease, his daughter, Felicia Lansbury Meyer, told The Hollywood Reporter.

His survivors also include his twin brother, Edgar Lansbury; he produced the popular 1970s Broadway revival of Gypsy that starred their sister and worked on films including The Wild Party (1975), directed by James Ivory.

Lansbury also served as vp creative affairs...
See full article at The Hollywood Reporter - TV News »

Get Cast in ‘The Wild Party’ and 4 More L.A. Projects

Los Angeles actors, this week’s casting highlights have been chosen just for you! They include an upcoming production of Andrew Lippa’s “The Wild Party,” as well as two short films. Check out some of the awesome Golden State notices you may have missed this week! Andrew Lippa’S “The Wild Party”Director/producer, Quentin Garzon, is currently casting for a leading role in his upcoming production of Andrew Lippa’s musical, “The Wild Party.” The production seeks a union or nonunion actor to portray Black, who is “suave, handsome, in great shape; he is an enigmatic loner, smooth talking, and romantic.” The piece will begin rehearsing immediately, with a run slated for Sept. 9–Oct. 2 at The Complex in Los Angeles. “Hypochondriac”Two leading roles are sought for "Hypochondriac," a new web series from Dandelion Films. Depicting a woman “who thinks she has a new medical condition every episode
See full article at Backstage »

‘Crazy Ex-Girlfriend’ Star Rachel Bloom on the Unsung MVPs of Season 1 (Consider This)

It’s not often that a primetime network TV show devotes three minutes of airtime to a “Les Miserables” sendup featuring hyper-specific references to Inland Empire utility politics. But it helps when you have the right people to pull it off.

Such are the sheer, nothing-else-like-it delights of “Crazy Ex-Girlfriend,” the newest jewel in the CW crown. At the show’s center is Rachel Bloom, who in addition to being the show’s star and co-creator (alongside “The Devil Wears Prada” scribe Aline Brosh McKenna) is also one of “Crazy Ex-Girlfriend’s” biggest fans.

When we spoke to Bloom, the talk kept turning toward the cast and crew that helps color this crazy, lovable slice of the TV landscape. From the writing staff to the songwriting team headlined by executive music producer Adam Schlesinger, she spoke about how it takes a village to raise a child (that occasionally sings therapeutic boy band parodies).

It seems like a nice added bonus that the people you’ve cast in these central roles get to have their featured moments. If you want them to grow, you can give them their own songs.

A lot of other people on our show, they’re Broadway people — they’re singers by trade. With the roles of Josh and Greg, we weren’t even necessarily looking for people who could sing. We were looking for the best actors. In the breakdowns, we were putting things like, “sing, rap, play guitar — we’ll write to your strengths.” Not in our wildest dreams could we have realized the kind of Renaissance men that we cast in both Santino and Vince — I mean, God, Vince has like three black belts.

Pete is a comedy/improv/sketch guy and would not consider himself a singer, but he has a really good voice. And he’s really in touch with his body. Vella is the same way. She’s a fantastic actress. She went to Juilliard, and I think with her training and with her natural abilities, she has the command over her voice. And so that was a really pleasant surprise for us when we realized, “Oh, we don’t have to Auto-Tune these people.”

It’s great that they’re all different kinds of voice types on this show, because you have Vince with more of a pop sound, you have Santino with the classic sound, you have Donna with the big Broadway belt, you have Pete with this twang, and then you have Vella with this like rock and roll thing that we’re so excited to write more for her. She sang at our cast party, we had a karaoke machine and she sang TLC’s “Waterfalls…”

Oh my God.

And it was so good! And Adam [Schlesinger] and I were watching her, and I was like, “We gotta write a ’90s song for Vella” and he was like, “Absolutely.” It was kind of like she was auditioning for us — except she was drunk and didn’t realize she was — and we never cease to be amazed and surprised with the talents of the actors we have on the show. It’s not what you hear about working with TV actors sometimes, where they’re afraid to be brave or they’re snobby or they’ll only film from 1 to 4:30 and then they’ll be in their trailer. We have such grateful theater people.

And people like Pete still get non-singing moments like “Having a Few People Over,” which probably wouldn’t exist if you were working with a shorter runtime.

Precisely. I really like that now, in any given episode, a lot of the time the second song is another character. And it’s about the B-story. That makes me really happy. I think that some of the most impactful storylines we’ve done come from exploring things like Darryl and [White] Josh. It’s funny because now they’re everyone else’s favorite couple, and I’m kind of like “They were my favorite couple first!” I was on set for their first kiss. I got to sit on set, and I was like, “Done! They’re my favorite couple, they’re the ones I root for. Don’t give a fuck about anyone else.” Next season we’re going to deal with them more.

One of my favorite moments was when you brought back the grocery clerk at the end of the season.

This is actually pretty great. We were writing the song “I Have Friends” and I had a rough draft written and I was brainstorming with Aline, our other executive producer, Erin Ehrlich, and our co-executive producer Michael Hitchcock. “I Have Friends” is all about those fun specifics, like “a janitor that lives in an Rv behind the school.” And Hitchcock just busted out “grocery clerk with half an eyelid,” and I was like, “Done. Yes.” There was something so B-52’s about it and when I think of B-52’s I think of this kind of like nasal voice, which made me think of my friend Ben, who I did stuff at Ucb with and was also on an improv team with our writer’s assistant Elisabeth [Kiernan Averick]. Before he even auditioned or knew we were thinking of him, we just started writing the lines in his voice. We had such a great deleted scene from Episode 3 of him and Pete just going on an improv run. It was one of the funniest things to watch all season, and hopefully we’ll release it on a DVD extra.

When you’re shooting scenes, it’s easy to toss lines in. Is there a lyric or musical moment that came kind of at the last minute?

For “Sexy Getting Ready Song,” the lyric “whisper your dick hard” originally was something else. We were in the recording studio, and Jack, who produced the song, was directing me and he was just like “Okay, this next take, I want you to whisper someone’s dick hard,” and I was like, “Jack! That’s a lyric!”

CBS hasn’t gotten into the live musical game yet. But if they do, is there a particular show that you’d like for them to do?

Well, I’m pretty indie musical theatre. So if they did anything Sondheim, if they did a live version of “Assassins” or “Company”? God, if you’re gonna do a live show, doing “Rent” would be just fun.

Would you want to be Maureen?

Oh, yeah. Yes, I’d want to be Maureen. [laughs]

I mean, anything Kander and Ebb. “Chicago,” “Cabaret.” For any Jewish comedian who can sing, I mean “Funny Girl” is kind of the ultimate, right?

As a big musical theater fan, do you have a go-to underrated show that, if someone was really digging deeper, you would point them toward?

For comedy, “Gutenberg! the Musical.” That soundtrack is amazing. It’s just such a great example of comedy musical theater that should be mentioned more. And “Light in the Piazza” is just brilliant. I love “Whatever I Dream” from “A New Brain.” Michael John Lachiusa’s “The Wild Party,” which I actually directed in college, is one of the most underrated musical theater scores. The way the genre changes as the show gets darker, it’s absolutely brilliant.

There’s another musical he wrote called “Hello Again.” The song “Tom” from Hello Again is just one of the greatest songs ever written in musical theater. “Tom,” “Safe,” and “Mistress of the Senator,” every song on “Hello Again” is a winner and I feel like no one ever talks about it.

Obviously, you have a deep love of musical theater and now have people asking for the sheet music to use for audition songs in the future. That has to be an exciting feeling.

Oh, it’s so exciting. If you could be in on all the emails! I am bugging people constantly because I want the musical theater kids out there to have sheet music and karaoke tracks! So everything that the fans ask, chances are I’ve already asked about 6,000 times. It’s really exciting for me to interact with fans because fans of the show are people that I would want to be friends with. This is a show that I would watch.

[Editor’s Note: IndieWire’s Consider This campaign is an ongoing series meant to raise awareness for Emmy contenders our editorial staff and readership find compelling, fascinating and deserving. Running throughout awards season, Consider This contenders may be underdogs, frontrunners or somewhere in between. More importantly, they’re making damn good television we all should be watching, whether they’re nominated or not.]

Stay on top of the latest TV news! Sign up for our TV email newsletter here.

Related storiesMichael Shannon Performs Pixies' 'Here Comes Your Man' On Spike's 'Lip Sync Battle'---WatchTV Creators Agree the State of Lgbtq Characters is Slowly But Surely ImprovingDaily Reads: The Genius of 'Girls' Lies in Its Unlikeable Characters, How 'Crazy Ex-Girlfriend' Brought the Asian Bro to TV, and More
See full article at Indiewire Television »

‘Crazy Ex-Girlfriend’ Star Rachel Bloom on the Unsung MVPs of Season 1 (Consider This)

  • Indiewire
It’s not often that a primetime network TV show devotes three minutes of airtime to a “Les Miserables” sendup featuring hyper-specific references to Inland Empire utility politics. But it helps when you have the right people to pull it off.

Such are the sheer, nothing-else-like-it delights of “Crazy Ex-Girlfriend,” the newest jewel in the CW crown. At the show’s center is Rachel Bloom, who in addition to being the show’s star and co-creator (alongside “The Devil Wears Prada” scribe Aline Brosh McKenna) is also one of “Crazy Ex-Girlfriend’s” biggest fans.

When we spoke to Bloom, the talk kept turning toward the cast and crew that helps color this crazy, lovable slice of the TV landscape. From the writing staff to the songwriting team headlined by executive music producer Adam Schlesinger, she spoke about how it takes a village to raise a child (that occasionally sings therapeutic boy band parodies).

It seems like a nice added bonus that the people you’ve cast in these central roles get to have their featured moments. If you want them to grow, you can give them their own songs.

A lot of other people on our show, they’re Broadway people — they’re singers by trade. With the roles of Josh and Greg, we weren’t even necessarily looking for people who could sing. We were looking for the best actors. In the breakdowns, we were putting things like, “sing, rap, play guitar — we’ll write to your strengths.” Not in our wildest dreams could we have realized the kind of Renaissance men that we cast in both Santino and Vince — I mean, God, Vince has like three black belts.

Pete is a comedy/improv/sketch guy and would not consider himself a singer, but he has a really good voice. And he’s really in touch with his body. Vella is the same way. She’s a fantastic actress. She went to Juilliard, and I think with her training and with her natural abilities, she has the command over her voice. And so that was a really pleasant surprise for us when we realized, “Oh, we don’t have to Auto-Tune these people.”

It’s great that they’re all different kinds of voice types on this show, because you have Vince with more of a pop sound, you have Santino with the classic sound, you have Donna with the big Broadway belt, you have Pete with this twang, and then you have Vella with this like rock and roll thing that we’re so excited to write more for her. She sang at our cast party, we had a karaoke machine and she sang TLC’s “Waterfalls…”

Oh my God.

And it was so good! And Adam [Schlesinger] and I were watching her, and I was like, “We gotta write a ’90s song for Vella” and he was like, “Absolutely.” It was kind of like she was auditioning for us — except she was drunk and didn’t realize she was — and we never cease to be amazed and surprised with the talents of the actors we have on the show. It’s not what you hear about working with TV actors sometimes, where they’re afraid to be brave or they’re snobby or they’ll only film from 1 to 4:30 and then they’ll be in their trailer. We have such grateful theater people.

And people like Pete still get non-singing moments like “Having a Few People Over,” which probably wouldn’t exist if you were working with a shorter runtime.

Precisely. I really like that now, in any given episode, a lot of the time the second song is another character. And it’s about the B-story. That makes me really happy. I think that some of the most impactful storylines we’ve done come from exploring things like Darryl and [White] Josh. It’s funny because now they’re everyone else’s favorite couple, and I’m kind of like “They were my favorite couple first!” I was on set for their first kiss. I got to sit on set, and I was like, “Done! They’re my favorite couple, they’re the ones I root for. Don’t give a fuck about anyone else.” Next season we’re going to deal with them more.

One of my favorite moments was when you brought back the grocery clerk at the end of the season.

This is actually pretty great. We were writing the song “I Have Friends” and I had a rough draft written and I was brainstorming with Aline, our other executive producer, Erin Ehrlich, and our co-executive producer Michael Hitchcock. “I Have Friends” is all about those fun specifics, like “a janitor that lives in an Rv behind the school.” And Hitchcock just busted out “grocery clerk with half an eyelid,” and I was like, “Done. Yes.” There was something so B-52’s about it and when I think of B-52’s I think of this kind of like nasal voice, which made me think of my friend Ben, who I did stuff at Ucb with and was also on an improv team with our writer’s assistant Elisabeth [Kiernan Averick]. Before he even auditioned or knew we were thinking of him, we just started writing the lines in his voice. We had such a great deleted scene from Episode 3 of him and Pete just going on an improv run. It was one of the funniest things to watch all season, and hopefully we’ll release it on a DVD extra.

When you’re shooting scenes, it’s easy to toss lines in. Is there a lyric or musical moment that came kind of at the last minute?

For “Sexy Getting Ready Song,” the lyric “whisper your dick hard” originally was something else. We were in the recording studio, and Jack, who produced the song, was directing me and he was just like “Okay, this next take, I want you to whisper someone’s dick hard,” and I was like, “Jack! That’s a lyric!”

CBS hasn’t gotten into the live musical game yet. But if they do, is there a particular show that you’d like for them to do?

Well, I’m pretty indie musical theatre. So if they did anything Sondheim, if they did a live version of “Assassins” or “Company”? God, if you’re gonna do a live show, doing “Rent” would be just fun.

Would you want to be Maureen?

Oh, yeah. Yes, I’d want to be Maureen. [laughs]

I mean, anything Kander and Ebb. “Chicago,” “Cabaret.” For any Jewish comedian who can sing, I mean “Funny Girl” is kind of the ultimate, right?

As a big musical theater fan, do you have a go-to underrated show that, if someone was really digging deeper, you would point them toward?

For comedy, “Gutenberg! the Musical.” That soundtrack is amazing. It’s just such a great example of comedy musical theater that should be mentioned more. And “Light in the Piazza” is just brilliant. I love “Whatever I Dream” from “A New Brain.” Michael John Lachiusa’s “The Wild Party,” which I actually directed in college, is one of the most underrated musical theater scores. The way the genre changes as the show gets darker, it’s absolutely brilliant.

There’s another musical he wrote called “Hello Again.” The song “Tom” from Hello Again is just one of the greatest songs ever written in musical theater. “Tom,” “Safe,” and “Mistress of the Senator,” every song on “Hello Again” is a winner and I feel like no one ever talks about it.

Obviously, you have a deep love of musical theater and now have people asking for the sheet music to use for audition songs in the future. That has to be an exciting feeling.

Oh, it’s so exciting. If you could be in on all the emails! I am bugging people constantly because I want the musical theater kids out there to have sheet music and karaoke tracks! So everything that the fans ask, chances are I’ve already asked about 6,000 times. It’s really exciting for me to interact with fans because fans of the show are people that I would want to be friends with. This is a show that I would watch.

[Editor’s Note: IndieWire’s Consider This campaign is an ongoing series meant to raise awareness for Emmy contenders our editorial staff and readership find compelling, fascinating and deserving. Running throughout awards season, Consider This contenders may be underdogs, frontrunners or somewhere in between. More importantly, they’re making damn good television we all should be watching, whether they’re nominated or not.]

Stay on top of the latest TV news! Sign up for our TV email newsletter here.

Related storiesTV Creators Agree the State of Lgbtq Characters is Slowly But Surely ImprovingDaily Reads: The Genius of 'Girls' Lies in Its Unlikeable Characters, How 'Crazy Ex-Girlfriend' Brought the Asian Bro to TV, and MoreDoes the CW Have a Season Two Problem?
See full article at Indiewire »

'Bridget Jones's Diary': 10 Things You (Probably) Didn't Know About the Hit Comedy

  • Moviefone
Hard to believe it's been 15 years since "Bridget Jones's Diary" surprised the world with blue soup, ugly Christmas sweaters, an unexpectedly funny Colin Firth, a shockingly nasty Hugh Grant, and a stunningly perfect English accent emerging from Texan Renée Zellweger.

Since the film adaptation of Helen Fielding's novel hit these shores on April 13, 2001, the awkward but lovable "singleton" heroine has been a worldwide favorite, spawning a 2004 sequel and a long-awaited third installment, "Bridget Jones's Baby," finally due for delivery this fall. To celebrate the film's 15th anniversary this week, here are some behind-the-scenes facts you need to know.

1. Helen Fielding's worldwide bestseller started out as a series of columns in Britain's Independent newspaper that loosely fictionalized the romantic misadventures of Fielding and her thirtysomething pals. Fielding acknowledged that she lifted her storyline from "Pride and Prejudice." "Jane Austen's plots are very good and have been market researched
See full article at Moviefone »

Manuel Gives Thanks

  • FilmExperience
Manuel here. Has it really been a year since the last time I gave thanks (not coincidentally with another pic of Ms Blanchett)? I feel as though I should be giving thanks in front of some sort of food, so imagine I’ve come with a full dozen donuts from Donut Time.

I’m thankful…

- For unabashedly queer Christmas flicks featuring fab ladies.

- For having had the chance to see over twenty-four films at the New York Film Festival (and having been in the same room as Kate Winslet!!)

- For Wiig, in all and every incarnation.

- For Joy and Joy (and consequently, Amy Poehler and Brie Larson).

- For all the delicious food on Please Like Me, a show you should all be watching!

- For Mad Men’s beautiful and perfect ending.

- For Twelve Angry Men Inside Amy Schumer, one of the greatest TV episodes this year.
See full article at FilmExperience »

Theater Review: What’s the Favorable/Unfavorable on First Daughter Suite?

  • Vulture
Like the M34 bus, Michael John Lachiusa never disappoints for long: If you don’t enjoy one show, another will come by soon. At 53, he remains probably the most prolific of his cohort of theater composers, also writing his own lyrics and often his own books. In addition to his operas and song cycles and out-of-town experiments, eleven of his musicals have received full-scale New York productions, starting with First Lady Suite, at the Public, in 1993. By my taste buds, the results are delicious about half the time: I’m a fan of Hello Again, The Wild Party, and See What I Wanna See, among others. But even when I haven’t warmed to his work I’ve admired it; his intent is never less than to use the full resources of the genre, and his own questing musical voice, to explore serious themes. If the execution is sometimes unconvincing,
See full article at Vulture »

Theater Review: At Encores!, a Brief Return to The Wild Party

  • Vulture
Theater Review: At Encores!, a Brief Return to The Wild Party
Are you Team Lippa or Team Lachiusa? For theater types, the dueling musicals of The Wild Party — one by Andrew Lippa, one by Michael John Lachiusa, both somehow given their premieres in the spring of 2000 — provide an opportunity for personal branding and group identification that others may get from, say, The Hunger Games. Both derive from Joseph Moncure March’s seedy Jazz Age narrative poem about a gin-soaked debauch chez Queenie and Burrs, a vaudeville siren and her abusive lover. Both musicals use (to varying degrees) vaudeville itself as a framing device and a metaphor for the disjointed, sensation-oriented experiences that pass for their characters’ lives. And both musicals flopped, Lippa’s off Broadway and Lachiusa’s on, despite stellar casts and scores memorable enough to become quick cult items when recorded. But in almost every other way the two parties are entirely different, and for me the sensational mounting
See full article at Vulture »

Top 10 Musicals That Should Be Made Into Movies

There are two upcoming movie musicals that, for a long time, I've wanted to make into motion pictures, should someone with money be willing to give me the funds to make them -- Into The Woods and The Last 5 Years. I'm both nervous and excited to see how directors Rob Marshall and Richard Lagravenese, respectfully, have interpreted the material I hold so close to my heart. I am especially nervous for Into The Woods, given Marshall's less than impressive track record. If someone is going to screw up something I cherish, it should be me. Of course, there are far more than two musicals I have a deep connection to. Some have already been made into films, like Sweeney Todd: The Demon Barber of Fleet Street and Les Miserables, but there is a vast collection of musicals I have thought could make fantastic films, but have never been made.
See full article at Rope Of Silicon »

Idina Menzel To Perform “Let it Go” From Frozen At 86th Academy Awards

Tony Award®-winning singer, songwriter and actress Idina Menzel will, for the first time, perform the Oscar®-nominated song “Let it Go” for a global television audience at the Oscars®, show producers Craig Zadan and Neil Meron announced today. The Oscars, hosted by Ellen DeGeneres, will air on Sunday, March 2, live on ABC.

“Let it Go,” written by Kristen Anderson-Lopez and Robert Lopez for “Frozen,” is nominated for Original Song.

The three other nominated songs are “Happy” from “Despicable Me 2,” “Ordinary Love” from “Mandela: Long Walk to Freedom” and “The Moon Song” from “Her.”

Menzel won a Tony Award for her performance as Elphaba in the original Broadway production of “Wicked.” She received a Tony nomination for her Broadway debut in “Rent” and earned a Drama Desk nomination for her performance in Manhattan Theater Club’s off-Broadway musical “The Wild Party.” In March Mezel will star in “If/Then,
See full article at WeAreMovieGeeks.com »

Frozen Star Idina Menzel to Perform at the 86th Annual Academy Awards

  • MovieWeb
Frozen Star Idina Menzel to Perform at the 86th Annual Academy Awards
Tony Award-winning singer, songwriter and actress Idina Menzel will, for the first time, perform the Oscar-nominated song "Let It Go" for a global television audience at the 86th Annual Academy Awards, show producers Craig Zadan and Neil Meron announced today. The Oscars, hosted by Ellen DeGeneres, will air on Sunday, March 2, live on ABC.

"Let It Go," written by Kristen Anderson-Lopez and Robert Lopez for Frozen, is nominated for Original Song. The three other nominated songs are "Happy" from Despicable Me 2, "Ordinary Love" from Mandela: Long Walk to Freedom and "The Moon Song" from Her.

Menzel won a Tony Award for her performance as Elphaba in the original Broadway production of Wicked. She received a Tony nomination for her Broadway debut in Rent and earned a Drama Desk nomination for her performance in Manhattan Theater Club's Off-Broadway musical The Wild Party. In March Menzel will star in If/Then,
See full article at MovieWeb »

Big Fish Announces Full Broadway Cast; Box Office Opens August 8th

[Press Release] Thursday, July 25, 2013 – New York, NY Directed by five-time Tony Award winner Susan Stroman (Contact, The Producers, The Scottsboro Boys), Big Fish begins performances on Thursday, September 5, 2013 and will open Sunday, October 6, 2013 at the Neil Simon Theatre. [Press Release] Thursday, July 25, 2013 – New York, NY Directed by five-time Tony Award winner Susan Stroman (Contact, The Producers, The Scottsboro Boys), with music and lyrics by Grammy and Tony Award nominee Andrew Lippa (The Wild Party, The Addams Family), and a book by Grammy and BAFTA Award nominee John August (Frankenweenie, Charlie and the Chocolate Factory), Big Fish begins performances on Thursday, September 5, 2013 and will open Sunday, October 6, 2013 at the Neil Simon Theatre. Starring two-time...
See full article at The Daily BLAM! »

"The Last Five Years" & "Hedwig" Jitters

I've seen a lot of theater since moving to NYC in January 1999 (wow. so long ago!) and four have stuck with me and become my informal holy trinity quadrilogy of modern showtunery: The Light in the Piazza (Adam Guettel), The Wild Party (John Lachiusa), Hedwig and the Angry Inch (John Cameron Mitchell & Stephen Trask) and the one I've listened to the most and feel the most proprietary about: The Last Five Years (Jason Robert Brown). 

For reasons which mostly have to do with equal parts scheduling problems, lethargy, and a case of "what if the lightning is no longer in the bottle?" worry, I did not see the recent revival of the latter. But my trip to The Last Five Years's original run with Norbert Leo Butz (brilliant) and Sherie René Scott (always a treat) is one of the definining theatergoing moments of my life. I loved everything about the
See full article at FilmExperience »

Tickets for Broadway's Big Fish Available Beginning Sunday June 16th

[Press Release] New York, NY - Tickets for the new Broadway musical Big Fish will go on sale to the general public on Sunday, June 16 at Ticketmaster.com (866-870-2717). An exclusive two-week pre-sale for Audience Rewards members and partners launches on Monday, June 3, during which members can earn 2,000 bonus points when they purchase a ticket to Big Fish at AudienceRewards.com. Directed by five-time Tony Award winner Susan Stroman (Contact, The Producers, The Scottsboro Boys), with music and lyrics by Grammy and Tony Award nominee Andrew Lippa (The Wild Party, The Addams Family), and a book by Grammy and BAFTA Award nominee John August (Frankenweenie, Charlie and the Chocolate Factory), Big Fish begins performances on Thursday, September 5, 2013 and will open Sunday, October 6, 2013...
See full article at The Daily BLAM! »

LinkoManiac

Flicks and Bits cool fan-made posters for X-Men Days of Future Past 

Playbill is Jewel up for the part of Cinderella in Into the Woods? I am always rooting for thirtysomething and forthy something ladies on up (as everyone knows) but isn't she at least 15 years too old for this part? 

Cinema Blend Emily Blunt will play the very plum role of the Bakers Wife -- does anyone know if she can sing?

Le Noir Auteur on Angelina Jolie's recent op-ed

Tom & Lorenzo Julianne Moore's photospread in Madame Figaro 

Variety well this is unexpected... Uma Thurman to play Anita Bryant in a biopic about the famous orange-juice peddling homophobe

Allure Zoe Saldana naked for Allure. And also revealing her weight for some reason

THR the assembled cast of Lars von Trier's Nymphomaniac photographed... It's almost like a less cozy messier Vanity Fair cover

In Contention The Bling Ring reviewed from Cannes

Broadway.
See full article at FilmExperience »

Reader Spotlight: Joey Moser

We're getting to know the Film Experience community. Today we're talking to Joey from Pittsburgh. He's currently performing in Godspell on stage. If you're in Pittsburgh there's two more shows this weekend.

When did you start reading The Film Experience?

Around the time that Far From Heaven was released in theaters.  I was realizing that Julianne Moore was my favorite actress, so your blog was mecca when I was in college.  I love the site because it doesn't just celebrate movies, but it helped me realize that movies can be bad with something great in them (and vice versa). 

What's your earliest movie memory?

Joey: The earliest memory I have is when my Dad took me to go see Beauty and the Beast.  I remember playing around outside, and he asked if I wanted to go.  I didn't actually answer his question, because I got so excited and just got
See full article at FilmExperience »

'Big Fish' Musical Heading to Broadway in October

  • The Wrap
'Big Fish' Musical Heading to Broadway in October
"Big Fish," the musical based on the novel by Daniel Wallace and Tim Burton's 2003 film, will open on Broadway Oct. 6 at the Neil Simon Theatre. Staged by Tony Award-winning director Susan Stroman ("The Producers"), the musical features a book by "Frankenweenie" screenwriter John August, who wrote the screenplay for the "Big Fish" movie, and music by Andrew Lippa ("The Wild Party"). "Big Fish" tells the story of a son who returns home to see his dying father, whose wild stories of epic adventures have created a rift between the two.
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Ten silent super-stars facing the advent of 'talkies'

The great movie pioneer D.W. Griffiths once said “we do not want now and we shall never want the human voice with our films.” Shame he failed to realise that film-making is a technical medium that will always develop. In the last 100 years we have had the introduction of colour, trick photography, 3D and CGI, among other numerous innovations such as CinemaScope - and even Smellovision. But none of these compare to the most revolutionary of cinematic changes: sound.

The silent era of the twenties holds little more than curiosity-value for many modern film fans. Other than a few notable exceptions such as Nosferatu (1922) and The Phantom of the Opera (1925), it’s become a long-forgotten part of cinema history. But back then we had the Brad Pitts and Angelina Jolies of their day! Big stars and talented actors who sadly failed to survive the test of time.

The coming of sound was controversial,
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