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Archive for the ‘women’s rights’ Category

Exquisite “Indecent” Reprieved & Extended Through Summer!


Good, good news! What I think is the best play of the year “Indecent” is now being given a reprieve and an extension through Aug.2. A huge jump at the box-office made the producers decide to give it a run though the summer, hoping its’ two Tony Awards and great word of mouth will keeping reaping the rewards, it so justly deserved. And it was going to close on Sunday! Imagine its’ talented ensemble cast’s surprise! The two Tony awards,to Best Director of a Play, Rebecca Taichman and Best Lighting Design for the young lighting wizard Christopher Akerlind.

The Cort Theater on W.47th Street between Broadway and Sixth Avenue will continue to be where Rebecca Vogel’s masterpiece holds court.

Sadly “Indecent” Is First Tony Casualty

I’m so sad to report a play which I felt was one of the best of the year, if not THEE best, Paula Vogel’s beautiful lesbian musical play “Indecent” is closing on Sunday June 24.

It did win two Tonys, but it didn’t win the crucial Best Play of the Year Award.

Winner of two 2017 Tony Awards, INDECENT will play its final performance on Broadway on Sunday, June 25th at 3:00 PM at the Cort Theatre (138 West 48th Street, between Sixth and Seventh Avenues.) At the time of closing, INDECENT will have played 79 performances and 15 previews. One of the most talked-about plays in the 2016-17 season following its debut last year at the Vineyard Theatre in NYC, INDECENT opened on Broadway April 18 and began previews on April 4. INDECENT marked the Broadway debuts of many of the artists involved in its creation, including playwright Paula Vogel, director Rebecca Taichman, choreographer David Dorfman and members of the cast and performing ensemble.

“We are so proud and honored to have had the opportunity to introduce Broadway to INDECENT and the remarkable talents of Paula Vogel, Rebecca Taichman and this exceptional company of actors and theater artists,” the play’s producers Daryl Roth, Elizabeth McCann and Cody Lassen state. “INDECENT has touched the hearts of theater-goers who have experienced the play’s magic at the Cort Theatre for the past three months, and we hope it will continue to do so as it is presented in theaters across in the U.S., Canada and overseas in the months ahead. INDECENT is story-telling in the theater at its very best, and we are grateful that this powerful story will live on.”

The production received Tony Awards for Rebecca Taichman, Best Director of a Play; and Christopher Akerlind, Best Lighting Design of a Play; along with the Outer Critics Circle Award and Obie Award for Outstanding Director of a Play (Rebecca Taichman) and the Lortel Award for Outstanding Choreography (David Dorfman). Paula Vogel was honored with a Special Citation as playwright and mentor from the New York Drama Critics Circle, and received a Lifetime Achievement Award from the Obie Awards. INDECENT has also been selected as Best Play by the Off-Broadway Alliance.

INDECENT will continue its life beyond Broadway as a number of theaters in the U.S. and internationally are scheduled to present licensed productions in their upcoming seasons, beginning with The Guthrie Theatre in Minneapolis, this season, and The Huntington in Boston, and into next season with 20 productions anticipated at theaters in the following cities for 2018-2019:

Philadelphia, PA
Palm Beach, FL
Toronto, Canada
Kansas City, MO
Indianapolis, IN
St. Louis, MO
Hamilton, Ontario, Canada
Denver, CO
Montreal, Canada
Washington, DC
Seattle, WA
Sarasota, FL
Dallas, TX
Chicago, IL
Houston, TX
Portland, OR
Tucson, AZ
Phoenix, AZ
Tel Aviv, Israel

A new play by Pulitzer Prize-winner Paula Vogel (How I Learned to Drive), created by Ms. Vogel and Rebecca Taichman, and directed by Ms. Taichman, INDECENT is about the love and passion to create theatre, even in the most difficult of circumstances. The play follows a troupe of actors, the cast of Sholem Asch’s God of Vengeance, who risked their lives and careers against enormous challenges to perform a work in which they deeply believed, at a time when art, freedom and truth were on trial. It is a story told with compassion, honesty, but also with great theatricality, and joyous songs and dances.

The ensemble of INDECENT features Matt Darriau, Lisa Gutkin, Aaron Halva, Katrina Lenk, Mimi Lieber, Max Gordon Moore, Tom Nelis, Steven Rattazzi, Richard Topol and Adina Verson. The cast has – not unlike the theater troupe depicted in the play itself – been performing the play together for more than two years: during its development with the Sundance Theater Institute and Oregon Shakespeare Festival, followed by productions at Yale Rep, La Jolla Playhouse and the Vineyard Theatre, where INDECENT had its New York debut last summer.

The production also features Zoë Aqua, Ben Cherry, Andrea Goss, Eleanor Reissa, Uri Sharlin and Doug Wieselman.

INDECENT features music composed by Lisa Gutkin and Aaron Halva, who play onstage along with cast members throughout the show.

The production is choreographed by David Dorfman. Scenic design is by Riccardo Hernandez; costume design is by Emily Rebholz; lighting design is by Christopher Akerlind; sound design is by Matt Hubbs and projection design is by Tal Yarden.

Cynthia Nixon Wins Best Featured Actress in a Play for “Little Foxes”

Cynthia Nixon looked pretty in pink and she was lovely, moving, and angry, as she made the first political speech of the night, which surprised me, and was totally right on.

Poor Paula Vogel just got to make a short speech about her beautiful play “Indecent.” Wearing a shimmering, light blue tuxedo jacket, she matched Gavin Creel’s tux. But her outstanding Best Play Nominee deserved more than this brief sound bite.

The now closed “Falsettos” Best Revival of a Musical nominee strutted its’ stuff with a re-united original cast including the red-hot duo of Andrew Rannells and Christian Borle.

Congratulations to Susan Haskins & Theatertalk!

Now that’s it’s been publicly announced on the air on PBS tonight on Theatertalk, I can say congratulations to Susan Haskins for winning (her first) Emmy! And she graciously and generously thanked me for introducing her to “the brilliant and impossible Michael Riedel” and she called me a “Public Access Legend.” And the Susan Haskinsterm has stuck. Which has very kind of her.
I now wear a hat that a kind friend gave me for my birthday that says “Puhlic Access Legend”.
There’s almost no woman who against all odds has done so much for American Theater. She’s been doing it for 25 Years.
Especially when there’s so little coverage of theater anymore in NYC. She’s doing what Ed Sullivan used to do. Congratulations, Susan!

 

TONY Predictions 2017!


I am so in love with the idea that this year’s Tony Awards might heavily feature two of my all time favorite theatrical events. “Natasha, Pierre and the Great Comet of 1812” the genre-busting pop-opera and “Little Foxes” which makes audiences (and critics) see double with the divine Laura Linney switching up with Cynthia Nixon. I admit to bias here, but I have the Drama Desks Awards this past Sunday to second my emotions.

Yes, I think “Natasha, Pierre…” will win many, many of its 10 nominations on TONY night, this coming Sunday. Including, I’m calling it now, Best Musical, Best Director of a Musical Rachel Chavkin, who won the DD on Sunday, Best Set of a Musical Mimi Lien, Best Lighting of a Musical, and Best Orchestrations Dave Malloy, who also wrote the incredibly, ketchy and thrilling  sung-through musical score, which may also get Malloy ANOTHER Tony in that hotly contested category.

I’m going to go with the more influential than ever Drama Desk Winner for Best Actor in a Musical and think that in a surprise Andy Karl will prevail in this category.He tore his ACL, and I’ve torn mine and trust me, it’s VERY, VERY painful, and takes a LONG time to heal, and Karl, formerly nominated as Bway’s “Rocky” overcame this excruciating experience to OPEN “GROUND HOG DAY” and continue on performing it, singing and dancing as he did before, turning it into a hit, where people are coming to see HIM as well as the show. He also won an Olivier Award in London for this performance. THAT counts bigly with Tony Voters.

And his HUGE, BLACK, frightening-looking knee brace is in full view the ELEVEN times he has to change into his clothes in front of the audience. And he’s clearly in pain doing all this. This counts heavily with the TONY voters, who know the show must go on, no matter what the pain level.

I think Broadway vet Karl wins this category over 23-year-old newcomer Ben Platt in “Dear Evan Hansen.” The TONY voters, I have to add, are older and more homogeneous than even the #Oscarssowhite Academy members. Yes, AMPAS is more diverse and forward thinking than the TONYs. And pain counts. Ben Platt will have other chances.

They’re not necessarily going to GET a musical about the Internet. Some of them DON’T EVEN HAVE INTERNET. So…It’s too young for TONY, but “Natasha, Pierre…” is a masterpiece based on a masterpiece, Tolstoy’s “War and Peace”, so it’s just right. It’s got the most nominations. It’s right in the Tony voters comfort zone(s). Usually the show with the most nominations wins. Let’s see if that holds true this year on Sunday night when the awards are handed out at 8pm EST on CBS.

Surprisingly, “Natasha, Pierre…” won in EVERY CATEGORY for the Drama Desks that it was nominated for. And because it opened earlier Off-Off Bway, it was only eligible for the parts of it that were NEW to this production. And those category were Best Director of a Musical, Best Set of a Musical, Best Choreography and Best Orchestrations.

Another category that I think “NPATGCO1812” will win is Best Featured Actor in a Musical. I think the TONYs will help the astonishing Lucas Steele along on his way to mega-stardom. It doesn’t hurt that though he’s cited as Supporting, he has a larger part than Pop Superstar Josh Groban, who is also nominated in the lead category, where he faces Karl AND Platt, unfortunately, or the award  handily would be his.

Lucas Steele is Anatole, Groban’s Pierre’s wayward, hedonistic brother-in-law, a very, complicated. LARGE part of the villain, as it were, of the extremely small section of “War and Peace” that has here been excerpted. He’s hot. He’s a little dumb. And he plays the violin. And he’s charismatic beyond belief and has been with “NPATGCO1812” for FIVE YEARS in all its’ growing and re-growing on its’ way to Bway. And he hits notes that are stratospheric, to say the least.

Bway vet Gavin Creel of “Hello, Dolly”, although he won the Drama Desk Award in this category, is funny, yes. But that’s about all there is to that part. , AND he was not up against his main competition, Lucas Steele that night.

Bette Midler, of course, even though she DIDN’T SHOW to pick up her Drama Desk win, as Best Actress in a Musical, will easily win in this category.

If I’m leaving out Best Play, it’s because “Oslo,” a play that bored me to death, has won every other Best Play award this year. And,yes, will probably devour the TONY, too. I wish my former guest Michael Aronov was going to win Best Featured Actor in a Play.

But I think that award, like it did at the Drama Desks, will go to Danny DeVito for “The Price.”LITTLE fOXES 3lITTLE FOXES 14

And as far as the Supporting or Featured Actresses are concerned, I think, like the Drama Desk it will go to Jenn Collela for “Come From Away.” And Best Featured Actress in a Play will be Cynthia Nixon. Pairing up for a win with her co-star Laura Linney, giving the performance(s) of their careers in the brilliantly double cast “Little Foxes.”  What a theatrical event! And this was all Laura’s IDEA! And the Tony Voters know it and she’s never won.</a
And Best Actor in a Play? Oops, I almost forgot. Kevin Kline in “Present Laughter” and yes, he won the Drama Desk, too.

#Natasha, Pierre and the Great Comet of 1812, #Josh Groban, #Lucas Steele, #Bette Midler # Hello, Dolly, #Gavin Creel, #Dear Evan Hansen, #Ben Platt, #Andy Karl, #Groundhog Day, #Kevin Kline, #Present Laughter #Rachel Chavkin, #Laura Linney, #Little Foxes, # Cynthia Nixon

Dina Merrill, Actress, Philanthropist, Passes

Dina MerrillDina Merrill Hartley (born Nedenia Marjorie Hutton; December 29, 1923-May 22, 2017) was an American actress, businesswoman and philanthropist.  She died peacefully at home surrounded by her family.

Merrill was born in New York City on December 29, 1923. She was the only child of Post Cereals heiress Marjorie Merriweather Post and her second husband, the Wall Street investment broker Edward Francis “E.F.” Hutton.

 She adopted the stage name Dina Merrill, borrowing from Charles E. Merrill, a distant relative and a famous stockbroker like her father. Merrill made her debut on the stage in the play The Mermaid Singing in 1945.  During World War II, she was part of the Moss Hart USO troupe and performed throughout the Pacific Theatre of Operations. Her stage career in regional and Broadway theatre took off after the war and continued through the 1990’s including the1983 Broadway revival of the Rodgers & Hart musical On Your Toes.

 Merrill appeared in more than 25 feature films including Desk Set (1957), Operation Petticoat, The Sundowners (1960),Butterfield 8 (1960), The Young Savages (1961), The Courtship of Eddie’s Father , and Robert Altman’s A Wedding (1978) andThe Player (1992).

 Merrill appeared on more than 100 television shows varying from What’s My Line to The Magnificent Ambersons.

Merrill has been married three times. In 1946 she wed Stanley M. Rumbough, Jr. and had 3 children, including David Rumbough (d. 1973)

In 1966 she married Oscar-winning actor Cliff Robertson, with whom she had Heather Robertson (d. 2007)

 In 1990’s, Merrill and her third husband, Ted Hartley, merged their company, Pavilion Communications, with the famed RKO to form RKO Pictures which made a number of feature films including Mighty Joe Young (with Disney).

 Merrill devoted a great deal of her time to public and charitable service. She was Chairman of the board and Director emeritus with over 50 years of service to the New York City Mission Society. When her son David was diagnosed with diabetes, Dina founded the Juvenile Diabetes Foundation, dedicated to diabetic research. She served as the International Ambassador for ORBIS International, the flying eye hospital which teaches advanced eye care and eye surgical techniques all over the world.

 Ms. Merrill was an energetic supporter of the performing arts. She was a founding t of te O’Neill Theater Center and an early director of the Paley Media Center. She served for 12 years as presidential appointee to the Board of Trustees of the John F. Kennedy Center for the Performing Arts. She was honored by Guild Hall, where she performed on stage for many summers in East Hampton, NY,by the naming of their theater and back theater spaces the Dina Merrill Pavilion.

She was a trustee of the Hillwood Estate, Museum and Gardens in Washington, DC.

She also served as a board member of the Population Resource Council and the Republican Majority for Choice Committee promoting “choice” for women and was a founding vice chairman of the Pro-Choice Coalition.

As a corporate leader, she served as the Vice Chairman of RKO Pictures and was actively involved in many of its productions and activities. She has served on the Board of Directors of E.F. Hutton Company and the Board of Lehman Brothers.

She is survived by her loving husband Ted Hartley, son Stanley Hutton Rumbough, and ughter Nedenia Rumbough Roosenburg and six grandchildren.

Burial services will be private for the family.  Celebrations of Dina’s life will be scheduled iks to come.

Remembrances of Dina could be sent in her name to:

Orbis International, 520 8th Avenue, 12th Floor, New York, NY, 1001

–        O’Neill Theatre Foundation, The Eugene O’Neill Theater Center, 305 Great Neck Road, Waterford, CT 06385

10037, Attention: Development Office

  Hillwood Estate Museum and Gardens, 4155 Linnean Avenue, NW Washington, DC 20008

 Messages of condolence will be gratefully received at dinamerrillremembered@rko.com

“Sweat” a Pulitzer Prize- Winning Play That Lives Up to Its’ Title

Sweat 4“Sweat”is this year’s Pulitzer-Prize winning play. and it more than earns that great accolade, as well as its’ daring title. “Sweat” dares you to take into account the sweat of most of its’ main characters’ smaller-than-life lives. Sweat could be a synonym here for “work,” and that is what most of its’ squashed denizens of Reading, Pennsylvania do. Actually, it’s more like slavery. They are slaves to the Steel Mill that the entire town’s economy and their lives are attached to at the hip –Sweat 1 morning, noon and night, until they die. It’s brutal. It’s tough stuff. Now two-time Pulitzer Prize-winning playwright Lynn Nottage is no stranger to horror. Witness her other, superb, previous Pulitzer-winner “Ruined” about the unspeakable terrors of African warfare and its’ ruinous effect on women.

“Sweat” tackles horrors you can speak of. Over-work and under-pay being the two main topics of nearly every conversation, its’ hard-scrabble characters carry on at the local bar, which is almost womb-like in its’ superb setting by John Lee Beatty, which is so familial and familiar, you feel like you’ve been hanging out there for years, as the plays bedraggled characters have.

If this bar, and its’ Christ-like bartender (a superb James Colby) seem right out of “The Iceman Cometh”, you’re not far wrong. Nottage is really plowing Eugene O’Neill’s lower depths, as well as her own. And like O’Neill, they are all being crushed and cursed by alcohol. Being that it’s 2017, other addictions apply, and pile up on “Sweat”s beleaguered characters as the actions to close down the Mill roll over all their lives in a relentless juggernaut of corporate greed and union busting that leads, of course, to catastrophe.

“Sweat” is terrifyingly prescient. This is the first play I’ve seen that explains why “You Know Who” to quote the View’s Whoopi Goldberg, got elected. This is a Rust-Belt play with all the Rust in full view.Sweat 2“Sweat” begins its’ road to hell-in-a-hand-basket with two matched monologues of two young men, barely out of their teens, childhood friends’ it turns out, one black, one white, who have been imprisoned there for some unspeakable, violent act. We don’t find out just what, until the frightening ending, but suffice it to say, that Khris and Jacob’s predicament hangs over the play like the doomed fog that has shrouded all these characters’ lives, white and black. Eugene O’Neill’s characters have gone from Pipe Dreams to Rust.Sweat 3The cast is uniformly excellent but I do have to single out the German descent White-Supremicist-in-the-making of Will Pullen, who has totally nailed the seemingly sweet, but really brutal Jason, a totally exact product of rural Pennsylvania and his factory working Mom, the Tony nominated Johanna Day.

The two of them enact a scene of horror that rivals any horror film, when he finally gets out of jail and comes home to borrow $5 from her only to find that she is now completely unemployed and a hopeless pill-head, Without that pollution-spilling Steel Mill, they’re both reduced to hopeless addicts and their lives and hopes destroyed.Sweat 5No, “Sweat” isn’t for the faint-of-heart, but it’s god-damned powerful. And Lynn Nottage’s capturing their pain and frustration so winningly is a compelling sign of hope.


#Lynn Nottage #Pulitzer Prize, #Sweat, #Broadway, #Will Pullen # Johanna Day, #Reading Pennsylvania # Stell MillsSweat 4

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