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Golden Globes Nominations Out! “Boy, Erased” Gets Two! Lucas Hedges Best Actor. Drama!


This year’s Golden Globes Nominations have just been announced. And they seem to be earlier than ever. The LA Film Critics haven’t even announced yet! So here they are. And for a complete list go to http://www.awardsdaily.com. I’m just over the moon that my #1 film of the year was remembered twice. The incredible Lucas Hedges got nominated in Best Actor, Drama for “Boy, Erased.” It also got nommed for Best Song.

This is what Lucas had to say about this,

“I honestly didn’t expect this and am completely thrilled. Thank you to the Hollywood Foreign Press for this incredible nomination. I loved playing Marlo, so this is a real honor.”

The 21-year-old phenom is currently on Broadway in Kenneth Lonergan’s “The Waverly Gallery” and so he can’t do the usual glad-handing and campaigning that has become an inevitable, and necessary, component of this Awards’ race.

No stranger to the Golden Globes and the Hollywood Foreign Press Association, who give them out, Lucas was up two years ago in Supporting for “Manchester by the Sea,” also by the superb author/director Kenneth Lonergan.

It should also be noted that the HFPA nominated both gay characters in “Can You Ever Forgive Me” played by Melissa McCarthy (Lead actress) and Richard E. Grant (Supporting). as well as all three lesbian characters in “The Favourite” played by Olivia Coleman(Lead) and Emma Stone and Rachel Weisz(supporting.)

The Golden Globes become more and more important every year and this year they seem more on point than ever. And they certainly are a hoot and half to watch. And they very often are extremely predictive of the Oscars. Academy voters use the Golden Globe lists as a cheat sheet. Their inclusion on this list will mean the films will be watched and discussed. And in the case of “Boy, Erased,” which is about the heinous practice of gay conversion therapy, which is still legal in over thirty states, it is IMPORTANT and timely.

Post-script: the other Masterpiece that’s out there this year, “Roma” was nominated for Best Foreign Film, because it’s in Spanish. Alfonso Cuaron was nominated as Best Director and  Best Screenplay. And if there was an award for Best Cinematography, he’d be nominated for that, too,  for the stunning Black and White footage that he shot entirely himself!

Indie Spirit Nominations Topped by “You Were Never Really Here” w/4!

Joaquin Phoenix and Lynn Ramsay

 

The Indie Spirits just announced their nominations, and there were some real surprises! One of my year’s Best “You Were Never Really Here” got the most of any film with FOUR nominations! Best Picture, Best Actor (Joaquin Phoenix), Best Director (Lynne Ramsay) and Best Editing! However there was no “Can You Ever Forgive Me?” anywhere, except in Best Supporting Actor.

You Were Never Really Here

 No love for Melissa McCarthy anywhere. This is very bad for her chances going forward.But it conveniently makes room for newcomer Jalitza Apericio for “Roma.”

Created to honor films with budgets under $20 million dollars, large studio films like “A Star Is Born” and “First Man” were not eligible. But art house Indies like one of my favorite films for this year “You Were Never Really Here” grabbed FOUR of the top nominations. Best Picture, Best Actor(Joaquin Phoenix)Best Director Lynne Ramsey as well as Best Editing.

I’m so happy this little seen but incredibly powerful film is being highlighted here. I felt this was really Joaquin Phoenix’s best work ever and lest we forget, he did win Best Actor in Cannes the year before last.

This definitely puts this terrific film right in the middle of the Oscar conversation, right where it should be. I really do think Phoenix is better than any of the other leading males under consideration.

I just wish they had nominated the great Judith Roberts for Best Supporting Actress as his dysfunctional mother.(See picture above ^). Phoenix plays a Bounty Hunter who is hired to kill the kidnappers and re-capture the victims of child abductions. His casual, frightening, single-minded pursuit of  the perpetrators is chilling. And thrilling. This is no walk in the park, by any means. Tough stuff, but worthy, Necessary. You want to look away as he plies his trade with a ball peen hammer, but you can’t. “You Were Never Really Here” COMPELLS you to watch it, every single minute.

For a complete list and explanation of this year’s nominees go to ~

http://www.indiewire.com.

“Bernhardt/Hamlet” She’s great. The play is not.


A theater goddess walks among us. Clearly, British actress Janet McTeer is one of the greats. Anyone who saw her “Doll’s House” back in the day can attest to this. Anyone who sees Theresa Rebeck’s half-baked “Bernhardt/Hamlet” will wonder why this acting colossus is attempting this pygmy play.

And of course, the answer is “There are no great parts for women.” Or few great parts as the play makes abundantly clear. Over and over and over again. Pedantic, didactic and I agree with playwright Rebeck’s conclusion. And frustration. But the means she uses to execute her thesis, and this is a thesis play. Collegiate. If she were in college, and she wrote this at the time she was in college, say roughly the 1970s, it may have seemed like something sparkling and new, but as “Bernhardt/Hamlet” as presented on Broadway by the redoubtable Roundabout, it is trite, trite, trite.

However the sublime Janet McTeer makes you almost forget all these things. Almost. If  Hamlet was a vivacious housewife who just solved her servant problem.And she is surrounded by some of the best young actors working today. Dylan Baker, Matt Saldivar, Nick Westrate and main among them, Jason Butler Harner. And they are all defeated by this mediocre material that the Roundabout is trying to foist on us as a silk purse, when it’s really the sow’s ear. Or in this case, the entire sow.

McTeer is a gargantuan presence. She is six-foot five at least, with the deepest and most resonant of voices. She has played many, many male roles herself, recently a remarkable Petruchio, in the Public Theater’s Shakespeare in the Park’s all female “Shrew” a few seasons back. And on-screen she was the transvestite lover of Glenn Close in “Albert Nobbs.” So she is no stranger to cross-dressing. Nor, evidently, was the diminutive  Bernhardt, who was barely five feet.

Considered to this day, the greatest actress of the 19th century, she was a dyed-in-the-wool eccentric. She slept in a coffin. She had a leopard for a pet, and wore a hat made out of bats’ wings. The only way we non-time-traveling mortals can experience her greatness today is by reading about her in the many, many books and biographies of “La Divina” as she was known. And the contemporary reviews of her critics. Don’t forget the critics! George Bernard Shaw and Oscar Wilde both adored her and wanted her in their plays.

None of this is in “Bernhardt/Hamlet.” Rebeck the writer makes her seem smaller than life and seems to have tailored this play as simply as a vehicle for the dynamic McTeer. Who deserves to have plays written for her. Just not this one.

She seems like a socialite, a gad-fly, someone who likes to have a beer and pal around with the guys, rather than sleep with them. She had many, many lovers and yes, McTeer kisses Butler Harner (As Edmund Rostand) again and again and again. As if to prove some kind of heterosexual point.

The great French playwright wrote “Cyrano de Bergerac” for her, but the part of Roxanne is hardly what you remember Cyrano for. And she chastises him, but he doesn’t make the part any better, and she still continues her affair with him. And yes, they kiss and they kiss and they kiss at every opportunity. Rebeck even presents us with Rostand’s wife,(Ito Aghayere) who in a very bizarre scene, seems to condone the affair, but that’s about as eccentric as this earth-bound Berhhardt is allowed to get.

Rebeck  has made the great Bernhardt seem very everyday as an actress. She seems remarkably superficial, constantly complaining the Shakespeare’s greatest play had too many words  in it. And constantly going “up” (forgetting her lines) in rehearsals, which this Bernhardt seems to treat as a schlog and a joke.

Ah! But then McTeer is allowed to do “Hamlet” straight on, it is just wonderful. And a great gift to those who witness it. There are only TWO niggardly moments that Rebeck allows her to play Hamlet at full throttle..

At the beginning of Act Two, she gets to do the entire “What a piece of work is man” scene with Rosencrantz and Guildenstern. And she and Dylan Baker play the Ghost scene as if it were a love scene and it works. (pictured above^)How it works! These two moments really are worth the price of admission. I just which we had a chance to see the great Janet McTeer do ALL of the real Hamlet and not just this shoddy imitation.

And would that the witty and wonderful late playwright Wendy Wasserstein was still with us. SHE would’ve made Bernhardt scintillating, rather the mundane feminist Rebeck leaves us with.

John Glowacki Does “Brokeback” Scene

I saw the annual NYU Grad Acting Actors Presentations and John was one of the fine actors they were presenting with a song(not usually) and two scenes,one of which he also wrote(!) and the other this searing, powerful scene from “Brokeback Mountain.” John is unforgettable in it truly. It’s haunting. AND heartbreaking. His future seems so bright. And I’m happy and proud to bring him to you today on “The Stephen Holt Show.” There’s Part One also where he sings and Part Three where I do a brief interview with him.  You can also see this on my You Tube channel. http://www.youtube.com/Stephenholtshow

John Glowacki, Pt. One, introducing Rebecca Levy

Great American Playwright Neil Simon Passes at 91


Neil Simon Theater 2
Neil Simon, long considered America’s most successful and certainly most prolific playwright dies at 91. It’s fitting that the Neil Simon Theater still exists on Broadway.at 250 West 52nd Street.  I hope it always stays “The Neil Simon Theater.”

I did not know Neil Simon personally. But growing up in the theater in the decades where he dominated the Great White Way, his work was overwhelming to a young playwright, me. At one time, he seemed to have every play on Broadway.

The Christmas after my mother died, I was feeling particularly bereft and found myself observing a great Broadway tradition.I went to Chicago. By train. To see the out-of-town try-outs for a musical version, of a movie  he wrote “The Goodbye Girl.” Seeing that only half-successful work in the middle of the cold Chicago winter made me realize that yes, all your idols have feet of clay. IOW, everyone makes mistakes. The Goodbye Girl was a musical with a book by Neil Simon, lyrics by David Zippel, and music by Marvin Hamlisch, based on Simon’s original screenplay for the 1977 film of the same name.

I was also at a rehearsal of “The Goodbye Girl” when it limped to New York, and in the rehearsal room were the star Bernadette Peters and yes, Neil Simon himself.

He seemed so un-prepossessing in person. He was wearing a robin’s egg blue sweater and  kibitzed around with the various actors….But it was his eyes that got me. The intensity of his stare. Nothing was being missed. He saw it warts and all and I’m sure was thinking “How can I fix this? How can I help?” He reminded me of a very warm and friendly rabbi. His vast knowledge of the theater seemed to match those of a rabbinical scholar. He seemed immediately nice. But also intimidating. I mean, he was NEIL SIMON! But he didn’t carry himself like a star as Ms. Peters certainly did.

I guess I was so intimidated by him, I didn’t even have the chutzpah to talk to him. But what could I have said?  “I saw your play in Chicago and really liked it.” God! I hope didn’t say THAT! Which would have been a complete lie.  I don’t think I did.

I never saw him again. And, the show flopped. I thought nothing he wrote could ever flop, but some did.

He strangely isn’t revived much of late, but the Neil Simon Theater is still there. A permanent and fitting monument to a man that made Broadway history over and over again. He will be missed by all in the theater community. It was his great love.

Neil Simon R.I.P.

Will Brittain’s Buff Butt Stars in Gayest Play Ever (at the Roundabout)

Young Texas actor Will Brittain is pretty much entirely nude for the lengthy part he has to play in Joshua Harmon’s “Skintight” at the Roundabout. Well, he does wear a tight black jockstrap that beautifully frames his bounteous buff bubble butt. And boy does Brittain make the most of that astounding ass of his! He struts. He sways. He sashays this way and that waving his naked rear end in the face of audience, the cast and the face of Broadway. If you consider the Laura Pels Theater of the Roundabout to be Broadway. Some say it’s Off Broadway. But whatever you want off it’s Will Brittain’s clothes. We never want to see him dressed again.

Not that he will be. Much. I see A LOT of nudity in his future.And that’s a good thing. It’s a great thing! Has Broadway ever been this nude? Well, there was “Oh! Calcutta!” once upon a time. Has there ever been a play THIS gay? Well, we just had a magnificent, award-winning revival of “Angels in America.” But somehow “Skintight” seems gay-er. And Brittain’s butt just overwhelms the Pels.

And that’s a good thing. It’s a great thing. Will Brittain is having the time of his life upstaging Idina Menzel, no less, and sitting butt-ass naked on her father’s Greenwich Village sofa. The other characters objected to Brittain naked end being strategically placed at one very funny point in this very funny play on their high-end sofa. They all gasped in horror. I gasped in delight. As I’m sure the packed audience did, too.

You see, “Skintight” is very sexy in a way that “Angels” never was. Or could be. It was about the AIDS epidemic in the ’80s. “Skintight” is just about, well, skin. And the fun you could potentially have with it, if you were as un-hung about nudity and the casual display of it as Brittain’s character Trei is. He’s done porn. And he sees it as a legit career choice. Gay porn, of course.

He’s the most philosophically well-adjusted character in Harmon’s charmin’ play. Jack Wetherall, of “Queer as Folk”, has the role of his career as Trei’s 70-year-old lover. “Skintight” is his birthday, which he wants to forget, and get back into bed with Trei, and well, Brittain is so helplessly irresistible, you can’t blame Wetherall’s world-weary fashion designer one bit. Wetherall’s grand-son is gay, too, and he wants to get it on with Trei. In fact, the only straight character is the intrepid Menzel whos gets high marks for making her non-singing debut in THIS extremely gay play.

And she does very well holding her own against, well, Will Brittain’s beautiful butt and playwright Harmon’s beautiful attitude towards being gay. It’s so free. So fun. Go! It’s only on for three more weeks before Will Brittain has to put his clothes back on. Perhaps forever. But being such a perfect physical specimen, I doubt that the Show Biz Godz will have their way with him and he’ll never be able to be clothed again. And that’s a good thing. It’s a great thing!

“Twelfth Night” in the Park, Cast of Thousands an Amiable Mess


Productions of Shakespeare’s perennial gem of a comedy “Twelfth Night Or What You Will” boasts a cast of literally hundreds, who seem like thousands. Is it too much of a muchness? Almost. 

Directors Oskar Eustis and Kwame Kwei-Armah have taken what is the Shakespeare-in-the-Park’s most enduring positive, the audience, and put all and sundry onstage in the guises of many, many community groups from the Tri-State. It’s overwhelming and it almost overwhelms the play, but not quite. It’s Shakespeare’s best, just about, and seems to weather every storm that is tossed its way. In this case, crowds upon crowds of extras, some of them toddlers, some of them house-wives, all dee-lighted to be onstage at the Delacorte instead of just watching, lining up for hours for tickets and clapping madly.Who can resist a cast that also resolutely SIGNS the play, too? The most beautiful, transcendant moment for me was when an unnamed young, bearded, blonde man, got up and singly signed one of Shakespeare’s more poignant song poems. I wish he was given credit for that in the program. 

Also, because it was virtually the only quiet, thoughtful moment in this amiable, crazy-house of a mess.

There was no intermission. It was only 90 mins. and Shaina Taub’s average music did not send me. It made me long for the first time I saw “Twelfth Night” which was in an historic, traditional production at Stratford-upon-Avon in 1969, when I was in college in the Cotswolds, and young Judi Dench played Viola.

“How will this fadge?” I remember her saying til this day, enunciating Viola’s gender confusion. She’s disguised-as-a-boy Cesario, who everyone is falling in love with. Sir Donald Sindon was the wronged Malvolio, and his performance is awfully close to the present Park’s Malvolio, Andrew Kober, who is the only one of the vast ensemble to capture Shakespeare’s tone of comic absurdity just right.

I also enjoyed Nanya-Akuki Goodrich as an amply-figured Olivia, who is so distraught over her beloved brother’s recent death, she is followed around by a New Orleans jazz band, playing a funeral march every time she enters, black handkerchief in hand, copiously weeping. The tiny little high-heeled shoes that costume designer Andrea Hood has provided her with, ankle straps and all, make her teeter-totter between hilarity, despair, love and high fashion.

And Nikki M. James, a past Tony winner for “Book of Mormon” is quite fine as the business-suited Viola/Cesario. She’s not Judi Dench, but she’s owns the character in her own charming, petite way.Twelfth Night Park 5

 

ONLY THREE DAYS LEFT for my GOFUND ME!!!PLEASE HELP!!!

There’s only three days left to donate to my GoFundMe page! We have not reached our goal. We are only at $535. We need to be at $1500. Thanks to all who have donated and helped. It is deeply appreciated!

https://www.gofundme.com/save-my-early-plays-amp-tv-shows

Come Ride Rodgers & Hammerstein’s Wonderful, Rousing Revival of “Carousel” on Bway!

 

“Come ride away with me! And I will take you to heights you never dreamed of! ” beckons the plaintive/beautiful “Carousel Waltz” that opens Rodgers and Hammerstein’s classic “Carousel” now being magnificently revived on Broadway, directed masterfully by Jack O’Brien. It stars, as the star-crossed lovers Julie Jordan and Billy Bigelow, Jessie Mueller (“Beautiful”) and Joshua Henry(“The Scottsboro Boys”).

And “Carousel” is sounding more blissfully like an opera than ever. with the largest, most opulently orchestrated orchestra (with a harp even!) I’ve ever heard on Broadway! Orchestrations by the great Jonathan Tunick and Musical Supervision by Andy Einhorn.

The legendary lyric soprano Renee Fleming is on hand, too. To make the point even more clearly that Rodgers and Hammerstein meant to break your broken heart even further with a celestial, moving “You’ll Never Walk Alone.”

You can’t miss this one! All you musical  theatre romantics out there!. It will make you cry from the first chords of the wordless, long, lush overture that opens with the “Carousel Waltz ” as Santo Loquasto’s glittering cup-cake-like tiara of a shimmering crown descends to represent the top of this dizzying merry-go round, as Tony-winning choreographer, Justin Peck keeps his dancers flying, spinning through the air. You MUST ride their joyous Carousel with all these wonderful artists on it! It’s a joy ride of a revival that surprises and startles and blows you away over and over again. especially musically. Particularly if you think this is an over-familiar chestnut of a  score that has no surprises left to find. You’ll never be able to forget the sounds this magical musical makes..


As perfectly classical as this “Carousel” is in every respect, it is breaking ground thoroughly too with its casting of African-American Joshua Henry, who proves beyond a doubt that he is one of the best great baritones Broadway now has, but that also director Jack O’Brien’s color-blind casting gives this masterpiece even more depth and timeliness that it’s ever had.

Joshua Henry’s reluctant wooing of white Jessie Mueller seems a perfect match, and gives credence to the other small town New Englanders giving vent to their small-town New England prejudicial warnings to Julie Jordan(Mueller). Their constant put-downs of Billy Bigelow(Henry) now seems justified from the 19th century point of view. It reminds us that their admonishments of an inter-racial romance’s “ending will be sad” prove true  as the (spoiler alert) Second Act turns tragic.

Billy never thinks he’s good enough for Julie and events bare him out.

Joshua Henry brings down the house with a rage-full “Soliloquy,” turning it more powerfully dark than I’ve ever remembered it. When he sings he doesn’t want his unborn daughter “to be dragged up in slums with a lot of bums like me,” it is coming from a place of pain that Rodgers and Hammerstein never envisioned.

And Jessie Mueller is a revelation too, singing in a sweet coloratura soprano that we’ve never heard her use before. She’s always been a Broadway belting baby utilizing her killer voice in the lower veiled registers. She now shows that her vocal and emotional range is limitless. She also doesn’t shy away from the passion Julie is feeling that propels her to Billy. “What’s the Use of Wond’ring” which is often just a throw away, here becomes a life lesson. 

It is foreshadowing as she is joined in its sad, resigned tones as Mueller proves to be a true relation of Renee Fleming, who joins her in the song and agrees with her. And then on Billy’s horrifying death, a bloody one this time, when Fleming tells Mueller over Billy’s dying body “You’ll Never Walk Alone,” she shakes the heavens as well as the rafters with the celestial perfection of her legendarily, thrilling voice.

My only disappointment, and it was a big one, was that Tony Winner Lindsey Mendes was out the night I saw it. She was replaced by a very bland, super-white, uptight college girl, which is not what Carrie Pipperidge’s character is supposed to be at all. I disliked her so much I won’t even mention her name.

And SHE won the Tony? In THAT part? Ms. Mendes must’ve been terrific, because the massive achievements of Joshua Henry, Jessie Mueller and Renee Fleming were world-class, unforgettable.

The excited audience applauded everything. The opening carousel appearance, and stopped almost every single number with rounds of applause also, WITHIN the song. I’ve never seen anything like it.

And last but not lost, Method Actress Margaret Colin proves that tasty, tacky, businesswoman/owner of the carousel, Mrs. Mullins demands and commands every single second of her stage time. She makes one wish she had more to do and even makes you think that SHE should have had a rousing song, too. I’ve never seen a “Carousel” with such a strong Mrs.Mullins. In Ann Roth’s flouncy, bouncy costumes, Colin’s virago becomes a diva.

I could see this “Carousel” over and over and over again, and I can’t wait til the next time I do!

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