Theater Review: 9 to 5 the Musical

Have you ever watched performers on stage and felt that everyone was giving it they're all, so much that maybe, just maybe, someone was holding a gun to their head? That's the feeling I got while watching the National tour of “9 to 5 the Musical.” It felt like Gay Vegas was on that stage with the bright colors and lights that there are parts that won you over, because if it hadn't then you could be killed off for not liking it by Dolly in her magic "Wicked" bubble.

The curtain looked like it's going to be recycled for “Tales of the City” the musical complete with pictures of Streisand and Donna Summer. We're then greeted by the ghost of Dolly Parton on a "Wicked" clock video screen to explain the story to us, as if it was going to stray from the movie. We are introduced to the three stars Broadway Star and three time Tony Nominee Dee Hoty as Violet Newstead the single mother who keeps getting passed up for a promotion. With the smarts, power belting, dancing, and complete with her own chorus line that I swear I kept thinking “Roxie” she should be the President of the United States and to make it a little bit more obvious the costumer seemed fit to dress each lady in the colors red, white, and blue, or pink on occasion.

We get next get introduced to Perky, Squeaky voiced Doralee Rhodes played as close to Dolly Parton as she could by Diana DeGarmo. I thought Ms. DeGarmo should have been given more freedom with playing the role because I saw some great hints of a young Carol Lombard. As anyone who knew her from American Idol, she was on Season 3 the year with Jennifer Hudson and she was first runner up to Fantasia and gave thrilling vocal performances of “Don't Cry Out Loud,” and “One Voice.” It was odd that one of the strongest belters got the soft ballad “Backwoods Barbie” which was “Coat of Many Colors Part II” but when given a chance to belt out she let that mighty voice roar out in songs like “Shine Like the Sun” and “Change it”

To complete our 70's version of girl power is Mamie Parris, who as Judy Bernly has the biggest growth arc and handled it with care and made you feel something for her. I thought her performance at the copier with “I Just Might” was touching, she was sexy in a tacky death fantasy, and power belted the hell out of her 2nd act show stopper “Get Out and Stay Out.” It's a manipulative song about how one can be on their own but sung with such growing power that it ends up as a full out vocal storm by Ms. Parris voice. I don't understand how she can do that 8 times a week.

As the sexist, egotistical, lying, hypercritical, bigot Franklin Hart Jr. Joseph Mahowald is everything the part is. The actor does the best that he can with a worthless role there most be something about Dabney Coleman that made you not realize how bad the part truly is.

As for the other office workers Kristine Zbornik steals her scenes as Roz Keith though I found her solo song “Heart to Hart” rather pointless. Maybe it was the younger prettier chorus line of Roz's dancing with a picture of the boss holding a fish. I felt more for her during her goodbye song 5 to 9. As the drunk office worker Margaret local favorite Jane Blass was over the top and hysterical and fit right into her surroundings. I thought Gregg Goodbrod's Joe who was an original addition to the musical was charming but against Dee Hoty there was a noticeable age difference.

I give it to the rest of the ensemble who moved the set around in supersonic speed, sang though lyrics that hve seen a better time period, danced, and sold this show for all it's worth because if they didn't, I have a feeling that video projection of Dolly that started and ended the show would have taken any one of them out with a shot.

At the end of the show the circle of Dolly sings 9 to 5 with the cast and makes the audience join in and then she asks everyone to tell their friends to go see the show and you get the feeling that you wished she put as much passion into creating a different version of 9 to 5, which in some ways the office world hasn't changed as much.

StevenD

"9 to 5 the Musical" is playing at the Bank of America Theatre until January 30th. Friday has an 8:00pm performance, Saturday has a 2:00 Matinee and an 8:00pm performance and Sunday has a 2:00 Matinee and a 7:30 finale performance.

Ticket Prices are from $32 - $95

Box Office 800-745-3000

Running Time 2hrs 20mins; one intermission

http://www.ticketmaster.com/9-To-5-the-Musical

Oscar Nominations are In

The Oscar Nominations came out today which will put in motion to of my annual events. One pull out every Entertainment Weekly, People, and US since 1992 as my coffee table display and Second have my photo again taken at the Oscar display that they put up every year. As far back as 1986, when I remember falling asleep to Marlee Matlin winning her Oscar for “Children of a Lesser God.” have I been an Oscar junkie. I can tell you who wore what on the red carpet in what year and have in the past been able name all Academy Award winners for Best Actress in a row, though I always get messed up on Katharine Hepburn's double win. I still remember as a child for Christmas asking my sister Julie for this dishy book called “Inside Oscar” which I still have, though it's torn and tattered and I think missing a year or two but something I still read to this day. I usually try to see every nominee in at least the Best Actress category because really that's the top category but still will watch a film just because it's been nominated in a major category. I say that because everyone always tries to get me to see a film because it was nominated under special effects, or makeup otherwise known as the plot less action movie.

So even though they've been on line all day here are the nominations with a few of my thoughts.

Best motion picture of the year
“Black Swan”
“The Fighter”
“Inception”
“The Kids Are All Right”
“The King’s Speech”
“127 Hours”
“The Social Network”
“Toy Story 3″
“True Grit”
“Winter’s Bone”

This category is really between two films “The Kings Speech” and “The Social Network.” The Social Network has won every major critics award for Best Film but The Kings Speech feels like a Best Picture movie.

Achievement in directing
Darren Aronofsky - “Black Swan”
David O. Russell - “The Fighter”
Tom Hooper - “The King’s Speech”
David Fincher - “The Social Network”
Joel Coen and Ethan Coen - “True Grit”

I'm going with David Fincher on this one. This film could have easily been something that we could have seen on the USA Network and he made it feel like a film classic.

Performance by an actor in a leading role
Javier Bardem in “Biutiful”
Jeff Bridges in “True Grit”
Jesse Eisenberg in “The Social Network”
Colin Firth in “The King’s Speech”
James Franco in “127 Hours”

Colin Firth has this one in the bag. He's likeable, been around for years, and is in a film that's been nominated a bunch of times.

Performance by an actress in a leading role
Annette Bening in “The Kids Are All Right”
Nicole Kidman in “Rabbit Hole”
Jennifer Lawrence in “Winter’s Bone”
Natalie Portman in “Black Swan”
Michelle Williams in “Blue Valentine”

At this point it's between Annette and Natalie for the win. I think Natalie is in a film that might bother people and turn off voters though Annette's performance is so low key. The SAG Award this weekend will help decide who's leading.

Performance by an actor in a supporting role
Christian Bale in “The Fighter”
John Hawkes in “Winter’s Bone”
Jeremy Renner in “The Town”
Mark Ruffalo in “The Kids Are All Right”
Geoffrey Rush in “The King’s Speech”

Unless another tape of Christian Bale ranting is released from now to the awards this is his to win.

Performance by an actress in a supporting role
Amy Adams in “The Fighter”
Helena Bonham Carter in “The King’s Speech”
Melissa Leo in “The Fighter”
Hailee Steinfeld in “True Grit”
Jacki Weaver in “Animal Kingdom”

This is a tough one. I've hard amazing things about Jacki Weaver as an evil mother who pushes her children into a world of crime and there was a lot of pulling for her to be nominated. In fact I heard more buzz about her then any of the others. However I'm going to go with Amy Adams as the Oscars likes to award the young actress here and Amy has proven her worth in other films (Junebug, Doubt, Enchanted.)

Best animated feature film of the year
“How to Train Your Dragon”
“The Illusionist”
“Toy Story 3″ (Walt Disney), Lee Unkrich

And this is why Toy Story 3 won't take home a best picture Oscar as it will win here.

Achievement in art direction
“Alice in Wonderland”
“Harry Potter and the Deathly Hallows Part 1″
“Inception”
“The King’s Speech”
“True Grit”

At this point I'm going in between Alice in Wonderland and Inception.

Achievement in cinematography
“Black Swan”
“Inception”
“The King’s Speech”
“The Social Network”
“True Grit”

I think Black Swan might win this one.

Achievement in costume design
“Alice in Wonderland”
“I Am Love”
“The King’s Speech”
“The Tempest”
“True Grit”

They always give it to the period piece so I say Alice in Wonderland has this in the bag.

Best documentary feature
“Exit through the Gift Shop”
“Gasland”
“Inside Job”
“Restrepo”
“Waste Land”

Best documentary short subject
“Killing in the Name”
“Poster Girl”
“Strangers No More”
“Sun Come Up”
“The Warriors of Qiugang"

For the documentary awards I wait to find out which ones are about the holocaust then I just go with that one. It never fails me.

Achievement in film editing
“Black Swan”
“The Fighter”
“The King’s Speech”
“127 Hours”
“The Social Network”

Usually the winner of this category wins best picture. I'm going with “The Social Network” as this film is all about the editing.

Best foreign language film of the year
“Biutiful”
“Dogtooth”
“In a Better World”
“Incendies”
“Outside the Law (Hors-la-loi)”

Since more people probably saw Biutiful since Javier Bardem was nominated I think this is the one to beat.

Achievement in makeup
“Barney’s Version”
“The Way Back”
“The Wolfman”
As an honor to the old MGM Horror films I say The Wolfman will win this.
Achievement in music written for motion pictures (Original score)
“How to Train Your Dragon”
“Inception” (Warner Bros.)
“The King’s Speech”
“127 Hours”
“The Social Network” (Sony Pictures Releasing)

I'm going to go with The Kings Speech for now.

Achievement in music written for motion pictures (Original song)
“Coming Home” from “Country Strong”
“I See the Light” from “Tangled” (Walt Disney),
“If I Rise” from “127 Hours”
“We Belong Together” from “Toy Story 3″ (Walt Disney), Music and Lyric by Randy Newman

No Cher!!!!!! I think the song from Tangled was nice and Alan Menken is known for writing one or two Oscar winning songs.

Best animated short film
“Day & Night”
“The Gruffalo”
“Let’s Pollute”
“The Lost Thing”
“Madagascar, carnet de voyage (Madagascar, a Journey Diary)”

Day & Night is Pixar so I have a feeling they've got it.

Best live action short film
“The Confession”
“The Crush”
“God of Love”
“Na Wewe”
“Wish 143″

At this point I'm going with God of Love.

Achievement in sound editing
“Inception”
“Toy Story 3″
“Tron: Legacy”
“True Grit”
“Unstoppable”

I think Inception is going to win this one.

Achievement in sound mixing
“Inception”
“The King’s Speech”
“Salt”
“The Social Network”
“True Grit”

I think The Social Network might have this one too.

Achievement in visual effects
“Alice in Wonderland”
“Harry Potter and the Deathly Hallows Part 1″
“Hereafter”
“Inception”
“Iron Man 2″

Inception for turning our dreams into reality.

Adapted screenplay
“127 Hours”
“The Social Network”
“Toy Story 3″
“True Grit”
“Winter’s Bone”

Without a doubt “The Social Network.

Original screenplay
“Another Year”
“The Fighter”
“Inception”
“The Kids Are All Right”
“The King’s Speech”

Here again I think it's going to be The Kings Speech.

Only time will tell and closer to the events will I have my reevaluated Oscar guesses but until then anyone want to help me unload the truck of Oscar memorabilia I've kept though out the years.

StevenD

AstonRep Theatre Company presents Closer

AstonRep Theatre Company is very excited to announce that for there second show of their season and the opening of their winter production, they're doing “Closer” by Patrick Marber. The show will preview on Thursday February 3rd and Friday February 4th, officially open on Saturday, February 5th, and run through Saturday, March 5th.

The show is best known for being made by Mike Nicholas in an Academy Award Nominated film starring Jude Law, Julia Roberts, Clive Owen, and Natalie Portman. The Broadway production opened up at the Music Box Theatre and starred Rupert Graves, Anna Friel, Natasha Richardson, and Ciaran Hinds.

For more information please visit the website at http://www.astonrep.com/

Broadway in Chicago presents tickets on sale now for The Merchant of Venice

William Shakespeare’s “The Merchant of Venice”
Starring F. Murray Abraham
Coming To Bank of America Theatre
March 15-27, 2011

Tickets On Sale Now
CHICAGO (Jan. 24, 2011) – Broadway In Chicago is thrilled to announce that individual tickets for William Shakespeare’s tragiccomedy “The Merchant of Venice” from the acclaimed Theatre for a New Audience, are on sale now for its Chicago debut during a limited, two-week engagement, March 15-27 2011, at the Bank of America Theatre (18 West Monroe St.).
Starring Oscar winner F. Murray Abraham (“Amadeus,” 1984) in his riveting portrayal of Shylock, and directed by Darko Tresnjak (former Artistic Director, Old Globe), the play has been arousing controversies for centuries with raucous and gentle comedy, tender poetry, and its struggle with mercy and justice. In this riveting update, religion, race and sexuality collide with love, family and justice and the currency of society and humanity has never been so changeable.

As Shylock, Mr. Abraham’s performance is acclaimed: “touches greatness in every aspect of an immensely challenging role (New York Observer); “Among the great performances of our time.” (Stephen Greenblatt, New York Review of Books. “In a performance as daring as it is powerful, Mr. Abraham delves into the shadowier recesses of Shylock’s corrupted psyche, making him a little more sinister than sympathetic, sinning as much as sinned against…The achievement of this production is to offer a Shylock who is the equal of his tormentors in this exacting cruelty, not just a wronged man unhinged by suffering” (Charles Isherwood. New York Times). Darko Tresnjak’s production received raves: “In its visible modernity, Darko Tresnjak's production for New York's Theater for New Audience gets to the work's disturbed heart." The Guardian; “The quality of Tresnjak’s staging is mercifully high, and presents the most compelling possible argument for Shylock in the form of F. Murray Abraham, an actor of tremendous dignity and command.” Time Out, New York
THEATRE FOR A NEW AUDIENCE is the first American theatre to be invited to bring a production of Shakespeare to the Royal Shakespeare Company. Founded in 1979 by Jeffrey Horowitz, its mission is to develop and vitalize the performance and study of Shakespeare and classic drama. We are dedicated to a dialogue over centuries between Shakespeare and other great authors such as Marlowe, Edward Bond and Adrienne Kennedy. “New” in our name does not refer to an audience who goes to the theatre for the first time. “New” can mean a directional approach, a fresh talent, an innovative design, a rarely produced play, a new form and an audience open to discovery.

At Theatre for a New Audience, American and European artists interact, workshop, teach, and direct. The Theatre is committed to promoting the ongoing training of artists and supports the American Directors Project, a program led by Cicely Berry, C.B.E., Director of Voice, Royal Shakespeare Company.

The company’s productions and affiliated artists have been honored with such prestigious awards and nominations as Drama Desk, Lortel, Obie and the Tony. The Theatre’s production of the The Green Bird by Carlo Gozzi directed by Julie Taymor opened Off-Broadway, toured to La Jolla Playhouse, and later moved to Broadway. In 1994, Julie Taymor directed Titus Andronicus Off-Broadway for the Theatre. Taymor then directedTitus, a major film starring Anthony Hopkins and Jessica Lange. Theatre for a New Audience has an ongoing collaboration with the Royal Shakespeare Company (RSC). Our production of Shakespeare’s Cymbeline directed by Bartlett Sher opened at the RSC’s The Other Place Theatre, Stratford-upon-Avon, in November 2001. In January 2006, Theatre for a New Audience’s production of Souls of Naples starring John Turturro toured to the Teatro Mercadante in Naples, Italy, and in March 2007 we returned to the RSC with The Merchant of Venice starring F. Murray Abraham and directed by Darko Tresnjak. In partnership with New York City, Theatre for a New Audience is building its first home, a center for Shakespeer and classic drama, in the BAM Cultural District. Groundbreaking will be this spring.

Theatre for a New Audience aspires to a civic role, bonding the diverse community of New York to the language, pleasures, and issues of classical drama. The Theatre offers talks with scholars, critics, and artists in conjunction with performances. Theatre for a New Audience created and runs the largest in depth program for introducing Shakespeare in the New York City Public Schools. The Theatre assists teachers in integrating classics into the Language Arts curriculum. Students study the play in their classroom and then see a Theatre for a New Audience production at special morning matinees. 2,100 students participate annually and over 120,000 young people ages 10–18 have been served since 1984. The Summer Arts Institute is a tuition-free, intensive, four-week arts program for New York City public school students. The Shakespeare Institute, supported by the National Endowment for the Humanities, offers public and private middle and high school teachers the opportunity to strengthen their familiarity with Shakespeare and their skills in communicating themes to students. Theatre for a New Audience’s educational programs received the Municipal Arts Society’s Certificate of Merit.

THE MERCHANT OF VENICE is part of the 2011 Broadway In Chicago Subscription Series.

THE MERCHANT OF VENICE begins performances on March 15, 2011 at the Bank of America Theatre and will run through March 27, 2011. Individual tickets go on sale Jan. 16, 2011 and range in price from $22.50 - $72.50. Tickets are available at all Broadway In Chicago Box Offices (24 W. Randolph St., 151 W. Randolph St. and 18 W. Monroe St.), the Broadway In Chicago Ticket Line at (800) 775-2000, all Ticketmaster retail locations (including Hot Tix and select Carson Pirie Scott, Coconuts and fye stores), and online at www.BroadwayInChicago.com. For groups of 15 or more, call (312) 977-1710.

ANNE OF GREEN GABLES at Theatre at the Center

ANNE OF GREEN GABLES
PRESENTED MARCH 29 THROUGH APRIL 2
AT THEATRE AT THE CENTER

THEATRE FOR YOUNG AUDIENCES

Produced by ArtsPower National Touring Theatre
Each attending school group will receive a copy of the book, Anne of Green Gables, sponsored by the Kiwanas Clubs of Hammond, Highland and Munster, Indiana.

Munster, INDIANA –Theatre at the Center’s 2010 - 2011 Theatre for Young Audiences is pleased to continue their season with the theatrical performance of the family classic ANNE OF GREEN GABLES, the classic tale of a young orphan girl whose dauntless spirit transforms her adoptive family. Based on Lucy Maud Montgomery’s internationally beloved novel, this original musical delights young audiences with its celebration of the power of imagination and the importance of love and trust. ANNE OF GREEN GABLES will run March 29 through April 2 at Theatre at the Center’s Theatre for Young Audiences, 1040 Ridge Road, Munster, Indiana.


ANNE OF GREEN GABLES tells the poignant and funny story of a freckle-faced, red-haired orphan named Anne Shirley and her journey to find the family she always dreamed of. Matthew and Marilla Cuthbert, farmers who live on Prince Edward Island in Canada, planned on adopting a boy to help with the chores. Upon their arrival to pick up their child, they are not expecting to see Anne, with little more than a tattered carpet bag and a big imagination. With her fiery temper, love of melodrama and romance, and tendency for mishap, Anne brings laughter and happiness to the home she has longed for all of her life.

Founded in 1991, Theatre at the Center is a year-round professional theater at its home, The Center for Visual and Performing Arts, 1040 Ridge Road, Munster, Indiana. Theatre at the Center is conveniently located off I-80/94, just 35 minutes from downtown Chicago.

All performances are one hour. School performances are March 29th through April 1st at both 9:30 a.m. and 11:15 a.m. The public performances will be on April 2nd at 11:00 a.m. and 1:30 p.m. Group prices are $6.50 per student, adult tickets are $8.00 and groups of 100 or more students are only $5.50 per student and $8.00 per adult. Individual prices are children, $7.00, and adults, $8.50. To purchase group tickets call 219.836.3258 and to purchase individual tickets call the Box Office at 219.836.3255 or Tickets.com at 800.511.1552. For more information on Theater at the Center, visit http://www.theatreatthecenter.com/.

Theater Review: Grey Gardens at JPAC!

Family binds never really break do they? We usually find ourselves running away from our families on some levels but in the end we always to return home again in one way or another. That is the horror that Little Edie Bouvier feels in the musical “Grey Gardens” which opened on the 14th at the Jedlicka Performing Arts Center just outside the Chicago city limits at Morton College in Cicero.

“Grey Gardens” is a harder show to pull off then it looks because the jump in time between the two acts always seems to confuse the audience. I didn't think JPAC quite solved that issue but all the other productions I've seen haven't been able to either.

I thought overall they did a good job with with a difficult show, that had some great moments and some really questionable ones.

The show starts with the older Beales fighting with each other but the problem is you can only see one of them Edith Beal and then moves back to the past. I think this left the audience a little confused and the pacing in this production really needs to be picked up as it felt like the actors weren't sure of their lines or how to maintain their strong new England accents.

We're then invited to performance from a younger Edith Beal played by Mary Nigohosian in her living rool accompanied by her her accompanist and trusted friend George Gould Strong played with Addison DeWitt charm by Austin Cook. Edith has a tendency to always put on performance of her singing no matter where ever she might be or how uncomfortable it might make her daughter Little Edie played by Jill Sesso.

Saddled with an unfortunate wig which I think was the problem others had Ms. Sesso sang the role Little Edie better then I've heard it sung before. It seemed like she was belting the music with a youthful strength whereas the others who I've seen sang it usually sing it in more of a soprano voice to match the Edie of the second act. I don't know if belting it was the right thing to do but it did make the music that Little Edie has in the first act sound better then I've heard it sound. I thought she played the anger she had at her mother extremely well but didn't show the mental illness that would start slowly creeping into the character.

In the second act Mary Hobein was a touching Edith with a strong soprano who you could see the ravages of time and Grey Gadens starting to take it's toll on her mental state however, I thought she had without a doubt one of the worst wigs and hats on that I've ever seen on stage. It looked like she was playing dress up at some suburban costume shop.

The Ensemble was a mixed bag filled with some good performances from Gary Saipe and Steve Perkins in a very small role as their servant Brooks Jr./Sr. to some like Charles Lane Cowen who kind of stood around lacking any charm that you would expect Joseph Patrick Kennedy Jr. to have and his double turn as Jerry the handman felt like a walk on role but again bad hair.

In any production of “Grey Garden's” it can rise and fall on the woman playing Edith the mother in the first Act and then in the second Act switching roles to play the daughter Little Edie (see how this can confuse audiences.) At JPAC these roles are played by Mary Nigohosian who posses a strong soprano voice though while lacking the elegant woman of the house she's playing in the first act she makes up for it with a campy turn of Little Edie that pulls at your heart strings in the second act. I thought her “Will You” and “Around the World” was lovely and well acted but was slightly disappointed by her “Another Winter in a Summer Town.”

This has always been more a character type of musical with some fascinating though off putting types of characters and I think the director worked on those aspects well however, much like the Beal's he left everything else in this production to the cats.

GREY GARDENS is directed by Micheal A. Kott with music direction by Adam Gustafson, Choreography by Sarah Bright, Scenic Design by Michael Nedza, Costume Design by Jennifer Ring and Lighting Design by Dante Orfei. Music direction is by Adam Gustafson who will lead an 8-piece live orchestra.

GREY GARDENS opens January 14th at 7:30pm and plays Friday and Saturday nights at 7:30pm through January 29th with 3pm Matinees on Sunday January 16th and Sunday January 23th. Tickets are $17, $15 (senior citizens) and $10 (18 and younger), and are available on-line at www.jpactheatre.com, or by calling JPAC’s box-office at 708-656-1800.

StevenD

68th Annual Golden Globe Award Predections

Tonight the 68th annual Hollywood Foreign Press Association's Golden Globe Awards will be presented and televised. They used to be a bigger deal then they are as they were the first award of the season to be televised and they were great indicates on who was going to pick up an Oscar in Marrch. However as award show dates have changed, it now seems like there is an award show on every 5 minutes and their stories about Sharon Stone sending all of them expensive watches so she could win for Casino, for which she did there impact has lessened a bit. However it is also one of the few shows that encourage the actors to drink before the television camera are on and that's always a good thing, well unless your name is Charles Sheen.

My predictions are going to be in bold.

Best Picture – Drama

Black Swan

The Fighter

Inception

The King’s Speech – “This has everything that the HPA usually looks for in a movie and would help its chances around Oscar time.”

The Social Network

Best Picture – Musical or Comedy

Alice in Wonderland

Burlesque

The Kids Are All Right – “This seems to be the only one that seems worthy of the win.”

Red

The Tourist

Best Performance by an Actor in a Motion Picture – Drama

Jesse Eisenberg, The Social Network

Colin Firth, The King’s Speech – “He can add this next to the Oscar.”

James Franco, 127 Hours

Ryan Gosling, Blue Valentine

Mark Wahlberg, The Fighter

Best Performance by an Actress in a Motion Picture – Drama

Halle Berry, Frankie & Alice

Nicole Kidman, Rabbit Hole

Jennifer Lawrence, Winter’s Bone

Natalie Portman, Black Swan – “Everyone is still talking about this performance but I wonder if there's going to be a tie between Natalie and Nicole as the HFPA seems to both actress a lot”

Michelle Williams, Blue Valentine

Best Performance by an Actor in a Motion Picture – Musical or Comedy

Johnny Depp, Alice in Wonderland - “The HFPA loves them some Johnny and this seems like something that they would want to reward,”

Johnny Depp, The Tourist

Paul Giamatti, Barney’s Version

Jake Gyllenhaal, Love & Other Drugs

Kevin Spacey, Casino Jack

Best Performance by an Actress in a Motion Picture – Musical Comedy

Annette Bening, The Kids Are All Right – “This was one of those we have to come up with 4 other people just so we can nominate Annette.”

Anne Hathaway, Love & Other Drugs

Angelina Jolie, The Tourist

Julianne Moore, The Kids Are All Right

Emma Stone, Easy A

Best Performance by an Actor in a Supporting Role in a Motion Picture

Christian Bale, The Fighter - “Christian Bales is very hot right not and they're going to want to honor someone who goes though all of tht for his craft.”

Michael Douglas, Wall Street 2: Money Never Sleeps

Andrew Garfield, The Social Network

Jeremy Renner, The Town

Geoffrey Rush, The King’s Speech

Best Performance by an Actress in a Supporting Role in a Motion Picture

Amy Adams, The Fighter – “I think they're going to want to spread the wealth a bit.”

Helena Bonham Carter – The King’s Speech

Mila Kunis, Black Swan

Melissa Leo, The Fighter

Jackie Weaver, Animal Kingdom

Best Animated Feature

Despicable Me

How to Train Your Dragon

The Illusionist

Tangled

Toy Story 3 – “Without a doubt the only winner in this category.”

Best Director – Motion Picture

Darren Aronofsky, Black Swan

David Fincher, The Social Network – “Even if they don't award his movie how can they pass on what he was able to do with it.”

Tom Hooper, The King’s Speech

Christopher Nolan, Inception

David O. Russell, The Fighter

Best Screenplay – Motion Picture

Danny Boyle and Simon Beaufoy, 127 Hours

Lisa Cholodenko and Stuart Blumberg, The Kids Are All Right

Christopher Nolan, Inception

David Seidler, The King’s Speech

Aaron Sorkin, The Social Network – “I think if the other screenwriters were allowed to vote they would have voted for this movie.”

Best Original Song – Motion Picture

“Bound to You” – Burlesque

“Coming Home” – Country Strong

“I See The Light” – Tangled – “I just can't see them giving Burlesque an award however they were nominated.”

“There’s a Place for Us” – The Chronicles of Narnia: Voyage of the Dawn Treader

“You Haven’t Seen the Last of Me” – Burlesque

Best Original Score – Motion Picture

Alexandre Desplat, The King’s Speech – “Prestigious films always seem to take this award.”

Danny Elfman, Alice in Wonderland

A.R. Rahman, 127 Hours

Trent Reznor and Atticus Ross, The Social Network

Hans Zimmer, Inception

Best Foreign Language Film

Biutiful – Spain

The Concert

The Edge – France

I Am Love – Italy - “This has gotten the most buzz and stars Oscar winner Tilda Swinton couldn't hurt.”

In a Better World – Denmark-

TelevisionBest Television Series – Drama

Boardwalk Empire (HBO) – “They love the expensive new guy.

”Dexter (SHOWTIME)

The Good Wife (CBS)

Mad Men (AMC)

The Walking Dead (AMC)

Best Television Series – Comedy or Musical

30 Rock (NBC)

The Big Bang Theory (CBS)

The Big C (SHOWTIME)

Glee (FOX) - “I still think that like most of America they're obsessed with Glee!”

Modern Family (ABC)

Nurse Jackie (SHOWTIME)

Best Actress in a Television Series – Drama

Julianna Margulies, The Good Wife

Elisabeth Moss, Mad Men

Piper Perabo, Covert Affairs

Katy Sagal, Sons of Anarchy - This will be the nights shocker and since she was so good last season she's going to win it.

Kyra Sedgewick, The Closer

Best Actor in a Television Series – Drama

Steve Buscemi, Boardwalk Empire

Bryan Cranston, Breaking Bad

Michael C. Hall, Dexter – “I have a feeling that it's going to be another Michael C. Hall year.”

Jon Hamm, Mad Men

Hugh Laurie, House

Best Actress in a Television Series – Musical or Comedy

Toni Collette, The United States of Tara – “They love new shows but I think they're going to give it to awards magnet Collette as a surprise.”

Edie Falco, Nurse Jackie

Tina Fey, 30 Rock

Laura Linney, The Big C

Lea Michelle, Glee

Best Actor in a Television Series – Musical or Comedy

Alec Baldwin, 30 Rock

Steve Carell, The Office

Thomas Jane, Hung

Matthew Morrison, Glee

Jim Parsons, The Big Bang Theory - “Everyone seem to be in love with his character.”

Best Mini-Series or Motion Picture Made for Television

Carlos (Sundance Channel)

The Pacific (HBO) – “When in doubt always pick the show about a War as the winner.”

Pillars of the Earth (STARZ)

Temple Grandin (HBO)

You Don’t Know Jack (HBO)

Best Performance by an Actress in a Mini-Series or Motion Picture Made for Television

Hayley Atwell, Pillars of the Earth

Claire Danes, Temple Grandin – “HFP loves Claire Danes so I see this as a no-brainer”

Judi Dench, Return to Cranford

Romola Garai, Emma

Jennifer Love Hewitt, The Client List

Best Performance by an Actor in a Mini-Series or Motion Picture Made for Television

Idris Elba, Luther

Ian McShane, Pillars of the Earth

Al Pacino, You Don’t Know Jack – “They also love Al.”

Dennis Quaid, The Special Relationship

Edgar Ramirez, Carlos

Best Performance by an Actress in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television

Hope Davis, The Special Relationship

Jane Lynch, Glee – “She has the most buzz out of everyone this year.”

Kelly MacDonald, Boardwalk Empire

Julia Stiles, Dexter

Sofia Vergara, Modern Family

Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television

Scott Caan, Hawaii Five-0

Chris Colfer, Glee – “He's had such an amazing storyline this year I can't see how he's not going to take this and the Emmy.”

Chris Noth, The Good Wife

Eric Stonestreet, Modern Family

David Strathairn, Temple Grandin

Let's see how I do tonight with my guesses.

StevenD

Theatre Review: Kiss Me Kate

It's “Another Op'nin,' of Another Show” in an entirely new space as Circle Theatre moves to their new space which was the theater that Village Players used to occupy. You can tell that Circle is excited to have all this additional space as their production has increased most notably in set design and Kevin Bellie's exciting choreography that makes great use of a larger stage. He uses the bigger space to flesh the show out the dancing more then I've generally seen it done before and in some ways that improves a show and a production that has some great things going for it and some things that need to be lost in Baltimore.

The show starts off on a barren stage and as some of the chorus starts singing the opening song “Another Op'nin,' Another Show” which leads to a stage full of chorus getting ready for opening night and Christine Ronna's (Hatti) finishing up the rest of the song. What she might lack a bit in vocal power in the song she more then makes up with her Girl Friday comic zest.

We next get the secondary leads with Wes Drummond's (Bill/Lucentio) and Rachel Quinn's (Lois/Bianca.) Mr. Drummond has a lot of charm and is a good actor which carries him though having a decent voice and some of the worst songs ever “Bianca.” One of the revelations about this production is Rachel Quinn who was a wonderfully daffy Cinderella in Porchlight's “Into the Woods.” Besides dancing up a story and looking a little like Emma Roberts she posses a strong belt that seemed to fail her at the end of “Always True to You in My Fashion but otherwise she played the role like a young Gloria Grahame.

The leads were played by Jennie Sophia who took a while to warm up but once she got to her dressing room scenes and from there on out she gave the character the right amount of class and humor along with the over the top anger that the part comes with, Her voice sounded lovely and she handled the belting of I Hate Men,” always a crowd pleaser to the soft tones in “I Am Ashamed Women are So Simple,” always a crowd moaner. Sadly I can't heap this praise on her costar Andy Baldeschwiler (Fred/

Petruchio) who lacked the larger then life theater persona the role calls for. His line readings reminded me of Gary Cole's impersonation of Mike Brady and his sing voice when in tune sounded more like a yawn without any power to it.

I also couldn't understand for what was a great set while he had a tiny little room that seemed crowded with just him in there and Lili had a suite. Any actor would have demanded it in their contract long with billing.

As the gangsters both John Roeder and Tommy Bullington played their comedic roles with the right amount of over the top humor however I didn't believe for a second that they could install any danger. Also I know Cole Porter loved writing his refrains to the point where you think a song will never end but they don't work if the lyrics aren't intelligible. As for the General Noah Sullivan handled his character as well as he could though I still can't understand why ever since the revival they added “From this Moment On” into the show as it's beneath both characters. I remember an article when they were trying to get Patti LuPone for the revival and she said that she would never do the show because it's one of show that the leads must have been having martini's backstage during the second act since they had nothing to do. I can understand that reasoning but there must have been a better song to put in that moment.

The Director/Set Designer Bob Knuth for the most part kept the action moving and took the Shakespearean stage moments serious which in the past I've seen it overplayed. The chorus handled all the dancing extremely well however the costumes ranged from wonderful to just why? Katharine's wedding dress after she's been in the mud was hideous and some of the chorus boys were wearing pant that I just know the idea was “borrowed” from Gwen Stefani's tribute to Paul McCarthy at the Kennedy Center. Also that wedding scene at the end at so many pastorals that I thought I was at an Easter Egg Hunt.

I think this production is a tribute to Kevin Bellie as a choreographer and had two great female performances other then that I'm much more interested in seeing what Circle has up it's sleeve later in the season.

Please note: This will be performed in Circle's new location, 1010 Madison Street in Oak Park and is only running until January 31st so get your tickets soon. The show runs Fridays and Saturdays at 8:00pm and on Sunday at 3:00pm. On Fridays all seats are $22 and on Saturday and Sunday: $26 for adults, $24 for students and seniors

Group rates are available. Box Office: 708-660-9540 and the running Time: 2hrs 40mins: one intermission.

www.circle-theatre.org

StevenD

Door Slam, in comes Patti LuPone

Will LuPone be one of the "Ladies who Lunch??"

I remember right before the most recent revival of Stephen Sondheim's masterpiece “Company” was announced there were plans to do a concert version of the show with the N.Y. Philharmonic and to be directed by Lonny Price. Now there were also plans to film this production as it seems like every time Mr. Price directs a concert in New York it is filmed. Shortly after this the revival announcement was made and these other plans quietly disappeared until recently. It turns out that in April the 7 though the 9th at Avery Fisher Hall the N.Y. Philharmonic conducted by Paul Gemignani and directed by Lonny Price will finally be performed. Also to top it off the big official cast news is that Neil Patrick Harris will be playing the leading role of Robert and get to sing at least depending on what they use “Someone is Waiting” and “Being Alive.” As soon as the original concert production was announced with Mr. Price I had a hunch and today there is an unofficial confirmation that joining Mr. Harris is two time Tony Award winner and frequent Sondheim/Price performer Patti LuPone in the role of Joanne who gets to offer up marriage advice in the droll “The Little Things You Do Together” and unleash her powerful belt in the classic “Ladies Who Lunch” which she was able to test on the Sondheim at 80 Birthday concert recently.

As she has already done concert versions all directed by Lonny Price of “Sweeney Todd” as Mrs. Lovett, “A Little Night Music” as Desiree Armfeldt, “Passion” as Fosca, “Sunday in Park with George” as Yvonne/Blair Daniels, “Anyone Can Whistle” as Cora Hoover Hooper, and in "Gypsy" as Madame Rose that originated in a Lonny Price directed production at the Ravinia Festival it only seems fitting that she would also take on the role of Joanne.
I wonder if Ravinia will do a similar version for their 2011 season? I also wonder how long will it be before LuPone finally takes on a role I have dreamed of seeing her play and that is as The Witch in a production of “Into the Woods.” I know she has talked about being up for the original and there were many reliable rumors about her doing the revival before she chose “Noises Off” instead, still will never understand that decision.

I'm hoping that there's a chance that Sherie Rene Scott will play Amy as LuPone and her worked together in the recent “Women on the Verge of a Nervous Breakdown” and she seems to posses a lot of the traits that would make for an interesting Amy and if they wanted to continue the Breakdown trend Laura Benanti would make for a wonderful April. If Lonny Price uses a lot of the actors he's used previously then Audra McDonald could make for an interesting Marta and Michael Cerveris could be an interesting Harry my only real concern is Mr. Harris who comes across as two young and seemingly too self assured to be someone who is going though a midlife crises.

However I'm under the firm belief that you can never have too many productions of Sondheim shows, well except for “Pacific Overtures” so I can't wait to see who else they get and if this is going to be recorded like the others.

Soon Patti is set to record the original Broadway cast recording of "Women on the Verge of a Nervous Breakdown" (thank God!!) and then after this production of "Company" LuPone is confirmed to be singing the solo piece in the New York City Ballet's production of “The Seven Deadly Sins” by Lynne Taylor Corbett. This will be a sung ballet in seven scenes with songs taken from Kurt Weill and a libretto by Bertolt Brecht, and was first performed at the Theatre de Champs-Elsees in Paris on June 7, 1933. LuPone did a song cycle under “The Seven Deadly Sins” which I presume will feature most of the same songs such as I'm a Stranger Here Myself, It Never Was You, My Ship, Susan's Dream, etc. at the Ravinia Festival last year and then if the rumor mill is true she might even find time to tackle one of Jerry Herman's greatest female roles that of Dolly Levi in a Broadway revival of “Hello, Dolly!”

LuPone who up until a few years ago last full scale Broadway musical role was 1987's “Anything Goes” has really kicked it up and made it almost an all LuPone all the time Broadway world. Here's hoping that she considers working in some free time and possibly record another solo disc? I would love one dedicated to the music of Stephen Sondheim or if she wants to expand and not do an entire Sondheim disc how about finally putting her "Coulda, Woulda, Shoulda" concert on disc.

StevenD

Theatre at the Center presents "SLEUTH"

Theatre at the Center

Presents The Tony Award Winning Best Play

SLEUTH

Andrew Shaffer’s Stage Thriller is a Masterpiece of Suspense

Munster, IN- Trickery and deceit take over in Anthony Shaffer’s SLEUTH, which kicks off Theatre at the Center’s 2011 season. This edge-of-your-seat mystery begins February 17 and runs through March 20 at 1040 Ridge Road, Munster, Indiana, with the press performance on February 20, 2011 at 7 p.m. The production, directed by William Pullinsi, stars Larry Yando and Lance Baker.

Larry Yando (Andrew Wyke) most recently appeared in Goodman Theatre’s production of Candide. He starred as “Scar” in the national tour of The Lion King for three years and has also appeared at the Goodman as “Ebenezer Scrooge” in A Christmas Carol for the last three years. He was honored as Chicago Magazine’s “Best Actor in Chicago” and received DePaul University’s prestigious Excellence in the Arts Award. Yando has taught advanced acting classes at The Theatre School at DePaul University, Northwestern University, Columbia College and Chicago Shakespeare Theater’s Classical Training Program.

Lance Baker (Milo Tindle) is a Jeff Award-winning actor with Chicago credits at numerous theaters including Chicago Dramatists, Goodman, Steppenwolf, Lookingglass, Northlight, Chicago Shakespeare, ATC, Theater Wit, Victory Gardens and A Red Orchid. His directing credits include the world premiere of Brett Neveu's The Earl, and the Chicago premiere of A Very Merry Unauthorized Children's Scientology Pageant, both at A Red Orchid, where he is an ensemble member and will appear in Machiavelli's The Mandrake in the spring of 2011.

SLEUTH has all the ingredients of a top-class thriller - a plot whose twists and turns are breathtakingly audacious and fiendishly cunning; suspense and excitement galore; and a brilliant parody of the Agatha Christie country-house thriller, mercilessly satirizing the genre at the same as using its technical devices to the full. For immensely successful mystery writer Andrew Wyke, life is an elaborate game where others are merely pawns at his disposal. He has amassed wealth and fame as a best-selling author of murder mysteries featuring the great detective St. John Lord Merridew.

Andrew lures his estranged wife's lover, Milo Tindle, to his country manor house and proposes a plan. Milo will "steal" the jewels that Andrew owns and sell them abroad. The plan seems like a win-win situation for both men. What unfolds is a cat-and-mouse game of epic proportions as Milo becomes unwittingly drawn into a tangled web of intrigue and gamesmanship where nothing is quite as it seems.

SLEUTH premiered in 1970 at St. Martin's Theatre in London's West End, where it ran for more than 2,300 performances. After that, it moved to Broadway's Music Box Theatre where it ran for more than 2,000 performances and garnered a Tony Award for best play of the year. In 1972, SLEUTH became a film starring Laurence Olivier and Michael Caine. Harold Pinter's screenplay of SLEUTH was released in 2007 and provided a fresh take on the original film. This film starred Michael Caine and Jude Law.

The design team for SLEUTH is Scenic Designers Rick and Jackie Penrod, Lighting Designer Denise Karczewski, Costume Designer Brenda Winstead, Wardrobe Supervisor Alice Broughton, Wig Designer Kevin Barthel and Props Designer Libby Fandrei. The Stage Manager is Rebecca Green and the Assistant Stage Manager is Robert Hildreth.

Founded in 1991, Theatre at the Center is a year-round professional theater at its home, The Center for Visual and Performing Arts, 1040 Ridge Road, Munster, Indiana. Theatre at the Center is Located off I-80/94, just 35 minutes from downtown Chicago, and has free parking.

Performances are Wednesdays and Thursdays at 2:00 p.m.; Fridays and Saturdays at 8:00 p.m.; Sundays at 2:30 p.m.; and select Thursday evening and Saturday matinees. Join us for our Wine Tasting event on Friday, February 18, 2011 and our Dinner/Theatre event on Thursday, March 10, 2011. Individual ticket prices range from $36 - $40. Season subscriptions for the full 2011 season are available for only $150. To purchase season tickets and/or individual tickets call the Box Office at 219.836.3255 or Tickets.com at 800.511.1552. Group discounts are available for groups of 11 or more and gift certificates, perfect for all special occasions, are also available by calling the Box Office at 219.836.3255. For more information on Theatre at the Center, visit TheatreAtTheCenter.com.

Film Revews for the following: Strong Women Numbers in this year and last years films

"Edited after original Post"

"An interesting story, about this past blog post. I was on the phone with my mother and had asked her if she had read my latest blog because of a movie review I had written she then proceed to inform me that she was sitting in front of the computer as we spoke and she wanted to go line though line on what I did wrong and how I can improve my post. She then wanted me to remove parts and her comment was “If she can think of something better then what I wrote she'll send it to me to replace my words.” Our mothers do they ever stop being Momma Rose?"

"So for her I cleaned it up and this weekend plan on brushing up on my grammar skills."

After being stuck in the house without the power of the Internet, and which I guess has replaced all my other addictions in life. I decided to use the next form of entertainment that I had to offer which was my netflix membership. I brushed up on my some of my strong female performances with from this last season to this current one with the following movies.

The Kids Are All Right

I had to keep asking myself, was this movie special because it was a topical or is it a special film. After the stereotypical kids going though their issues at the start of the movie I realized the power in this was how normal the couple of Annette Bening and Julianne Moore was. One half drinks and blurts out things about her financial dominance in the relationship, the other feels lost in life and that she's not achieving her dream whatever that might be at this moment. This is a wonderful film the only problem is that this film is filled with quite gem’s all around it. It's too normal for its own good. As the "sperm donor" Mark Ruffalo has this ability or possibly a liability of always making his acting look so natural that he blends into the story. The kids had a California naturalness to them that didn't make you think they were prepping for their own sequel but going on their own journey once the film ended. I thought Julianne Moore was effective in her role even though it's not a flashy role but opposite Annette Bening's emotional seesaw performance it's what was needed. I love Annette Bening but what I have learned is she is better at being a scene stealer instead of a scene dominater and in this movie she dominates every scene she's in. The others make acting look so easy that it makes her look like she's pushing. Almost in the same way her performance in "American Beauty" was. It's a quite film that stays with you a lot longer then some of the flashier ones do.

Winters Bone

In this “Deliverance” meets “Erin Brockovich” tale Jennifer Lawrence stars as Ree Dolly a 17 woman who has to endure a tremendous amount in life in order to protect her family and land from being taken away from her when her father skips out on bail. I call Ree a woman even at if she is at that tender age of 17 when she should still be just called a girl. The things she goes though and the tests she has to endure are things that only someone with strength, courage, and a lack of fear would ever do, something even an adult might not be able to face down but someone who needs to survive does everyday.

She's a survivor who no matter how many times you knock her down she'll get right back up and keep going until she gets the issue resolved. The movie starts out with her taking care of everything in the house including her mentally absent mother, her brother, sister and even animals they find running past them. They survive day to day on her ability to act as an adult and the kindness of their neighbors who supply them with food. One bleak day a bounty hunter comes calling to tell her that her father has skipped bail on charges of cooking meth and that he's used the home and the land they live on as collateral.

This put's her on a mission to find him and you believe her that regardless of whatever frighting path she must go down she'll do down there and find him before times runs out on her.

In this performance, Jennifer Lawrence who is a 19 year old newcomer is fierce, relentless, proud but all internally without a showy performance. It's funny the things that hold back "The kids are All Right" are the things that shine in this film. Early in the movie she tells her brother that “There's a bunch of stuff your gonna have to get used to being scared off” and you believe every word from her. At one point she tells the someone that “I don't talk about you men ever” and you believe that she lives with a lot of secrets in her. She's just a good person who takes care of the people she loves no matter what the cost to herself is.

This is a film about one woman's journey and how high she hold's her head up when she takes that journey no matter how scary the path and the people that are there are.

The land she lives in is removed in a way from what we see as our everyday world and its filled with very few likable characters but characters who have learned in their own way and in their own justice how to survive on their own. It's interesting that not for one second does any of the supporting players turn into a caricature but they all come across as living breathing people including a dazzling turn from John Hawks as her meth snorting uncle Teardrop.

You know at the star that there will be an outcome in Ree finding her father your just not sure how it's going to end but let me tell you by the end you find yourself sitting at the edge of your seat.

At the end of the movie Rae tells her brother in one of the tender moments “I'd be lost without the weight of you on my back” and with that and for them you believe her.

Eat, Pray, Love
This movie is based on a best selling book by Elizabeth Gilbert that my mother “Star” has read several times and in some ways actually lives. I wanted to live this life for the most part because who gets to pick up and leave to go around the world to discover themselves? At the start of the movie Julia Roberts character Liz is told a prophecy for the rest of the film by a wise old man she doesn't fully understand but it's there so we can remember it for future reference. After that we then get Julia trapped in a kinder but still depressing version of her “Sleeping with the Enemy” husband. She's in a safer spot but not by much more exciting of a lifestyle. She's married to Billy Crudup who's good looking but we've already learned to hate him for being both a "Golden God" from "Almost Famous" and that Mary Louise Parker baby drama years ago but now we also hate him because he can't make a decision in life or even hold a baby the right way. I understand a job is a job but at what point does he start worring about his "q" rating as an actor? He constantly tells her about what's his next goal in life is without settleing on anything which leads her into depression. She stops and does the first of the three words in the title of the film for dramatic effect. She prays and tells him she wants a divorce.

This chapter in her life ends due to him always waiting for something to happen to him she goes out and does it. Julia Roberts character spends the movie constantly searching, moving forward in hopes of finding something meaningful. On the way she meets people who are generally stuck in their own situation while moving past them. Think of it as obstacle course with emotions!

As she spends the movie in a journey she finally finds “something” meaningful she finds it with Richard Jenkins that makes her feel grown enough to experience her true movie star love with Javier Bardem. Because in film as we know, Richard Jenkins isn't movie star love, he's lucky enough not to be playing her father.

I believed the pain that Julia was going though, and thought she handled a difficult role quite well with grace and humor. It felt like she was invested more in this performance then she has been in a while.

However my biggest problem was watching this and still not able to get The Florence & the Machine's “Dog Days are Over” song that was played all during commercials out of my head. The other issue I had watching this movie was that sadly after an Oscar Nominated explosive turn in the film "Doubt" Viola Davis was now reduced to playing the Thelma Ritter best friend with one or two one liners.

An Education

Okay I'm dipping into last years picks of films but since this column is about strong women who have personal journeys and since I just recently signed up to netflix. I wanted to check out all of Meryl Streep's Oscar competition from last year so I rented this movie, “The Blind Side” and since I already owned “Precious” I figured I'd include it in this column.

"An Education" is sort of like a fairy tale version of that great sixties film “Darling.” However where "Darling" was a bleak tale this had a self aware character growing from her past mistakes.

The story for those who haven't seen the movie is about a young 16-year-old girl who falls for a 35-year old man in the 60's when things were more innocent and even uncomfortable things were handled with great style and she didn't see the bad side of everything.

As Jenny Carey Mulligan takes the reins from Audrey Hepburn and gallops forward in the category of coy fashionable waif in great Ralph Lauren looking outfits with a 60's waif and then goes back to the bleakness of school instead of living the excitement of life. Ms. Mulligan handles this role with a ton of grace and elegance. She's Jayne Eyre who turns into Eliza Doolittle when she meets a handsome older man Peter Sarsgaard who offers her the world. Her parents and her classes offer her a life of structure that stifles her. At sixteen what would you pick? She spends her days living in boredom and her nights living in excitement with him and his friends played by Dominic Cooper and a delightful yet slightly always a step behind Rosamund Pike.

After watching this movie, I couldn't help thinking this tale would have been told from the perspective of one of Ms. Jean Brodie's pupils.

Jenny might have left this film older, and wiser then most but she also got to look like a Vogue cover girl and how many of us can say that?

“Precious: Based on the novel Pushed by Sapahire”

Which leads me to the next film in my list which I watched last night to cheer myself up. In this tale everything including the television set is thrown at this poor girl and yet like our other strong women she keeps sticking her head above the water and keep going on.

Some of these other characters I've featured in this article have overcome adversary due to a lack of education, lack of love, meaning in life, parental supervision, and later in the case of Ms. Bullock a lack of a good Target by her house with an over priced salad but Precious Clarice Jones has overcome more then any of them and could stare any of these women down, with the exception of Ms. Lawrence (and when you see the end of “Winters Bone” you'll know what I'm saying!)

She's overcome everything and I'm not even talking the subtle stuff like the abuse, incest, and welfare but also the deeper meanings in life like having a 3 minute music video better then her actual life, though I thought the film's use of slipping into fantasy took us out of the power of this girls life.

In all of this bleakness and with nothing she overcomes it and to steal a line from “Entertainment Weekly” (Hey, I'm a subscriber so I've already bought and paid for that) “You feel like your witnessing the birth of a soul.”

It did get me thinking while watching this movie if Mariah Carey who's good in a small role wanted to put a song on the soundtrack until the director thought that her trademark "Touch Me's" might not work in this film. Mo'nique is able to take a truly despicable character and in one scene make you feel something for her.

The Blind Side

I must admit having a dislike for this film but watched it with an open mind because when people, namely my sisters and I run into an argument around awards season of who should and shouldn't have beat Ms. Streep I want to be able to say that I saw the other persons performance. I thought that Sandra Bullock turned in a movie of the week performance in a movie of the week type of film. I knew when the movie wanted me to feel sad, I knew when it wanted me to feel happy, and I even knew when it wanted me to be proud of the ugly child running around giving catch phrases that haven't been heard since “Jerry McGuire.” It was the type of film that wanted you to root for the botoxed white women who is trying an imitation of Shirley McClaine that just not quite as good as Shirley but more "Real Housewives of Georgia". It was like watching Erin Brockovich without a bigger cause and a lot less cleaveage.

As I finished my journey with these women, I wondered out of this current crop of real life strong women and the occasional only as strong as a Hallmark timeslot which are the ones I'd recommend. I'd say “Winters Bone”, “An Education" (besides Jenny has a point, there's a lot of girl power and just for the Vogue style alone and for those who know what the films "Darling" and "Jean Brodie" are), and “Precious” with a slight recommendation to “Eat, Pray, and Love.” I would skip "The Blind Side" and watch "Julie & Julia" instead.

StevenD

Steppenwolf's production of "Detroit" opening on Broadway Fall 2011

Steppenwolf Theatre Company’s Production of
Detroit
By Lisa D’Amour
Directed by ensemble member Austin Pendleton
To Open on Broadway Fall 2011

CHICAGO (January 11, 2011) – Steppenwolf Theatre Company is pleased to announce its new American play Detroit by Lisa D’Amour and directed by ensemble member Austin Pendleton will open on Broadway early fall 2011. Detroit makes its Broadway debut following world premiere at Chicago’s Steppenwolf Theatre Company, September 9 – November 7, 2010. Casting for the Broadway engagement will be announced shortly.

For those who missed the original Steppenwolf Theatre Company production the premise was: In a “first ring” suburb outside a mid-sized American city, Ben and Mary fire up the grill to welcome the new neighbors who’ve moved into the long-empty house next door. The fledgling friendship soon veers out of control, shattering the fragile hold Ben and Mary have on their way of life—with unexpected comic consequences. Detroit is a fresh, off-beat look at what happens when we dare to open ourselves up to something new.

Detroit will be presented on Broadway by Jeffrey Richards, Jerry Frankel and Debbie Bisno, in association with Steppenwolf Theatre Company (Artistic Director: Martha Lavey, Executive Director: David Hawkanson). Richards and Frankel previously teamed up with Steppenwolf to present ensemble member Tracy Letts’ Tony® and Pulitzer Prize-winning production of August: Osage County and Superior Donuts on Broadway.

StevenD

Grey Gardens at the JPAC!

Broadway Musical GREY GARDENS at the JPAC!

The Jedlicka Performing Arts Center in Cicero proudly presents the hit Broadway musical GREY GARDENS at their 250-seat theatre just outside the Chicago city limits. GREY GARDENS stars Mary Nigohosian of Batavia, Mary Hobein of Woodridge, Tessa Newman of Naperville, Gary Saipe of Libertyville, Katelyn Smith of Broadview and Austin Cook, Charles Lane Cowen, Jill Sesso and Steven Perkins of Chicago.

GREY GARDENS is the fascinating, true story of Jacqueline Kennedy Onassis’s cousin and Aunt who lived together for decades in a decaying estate in East Hampton, New York. Their story was told in an acclaimed 1976 documentary film, which was remade in 2009 as an HBO film starring Drew Barrymore and Jessica Lange.

The Broadway musical’s first act takes place in 1941 during the height of Grey Gardens’ splendor, and the second act takes place in 1973 after the estate and its occupants have gone into decline. The musical took home three Tony Awards in 2006, and the score runs the gambit from show-biz razzle-dazzle to heart-breaking ballads.

GREY GARDENS is directed by Micheal A. Kott with music direction by Adam Gustafson, Choreography by Sarah Bright, Scenic Design by Michael Nedza, Costume Design by Jennifer Ring and Lighting Design by Dante Orfei. Music direction is by Adam Gustafson who will lead an 8-piece live orchestra.

GREY GARDENS opens January 14th at 7:30pm and plays Friday and Saturday nights at 7:30pm through January 29th with 3pm Matinees on Sunday January 16th and Sunday January 23th. Tickets are $17, $15 (senior citizens) and $10 (18 and younger), and are available on-line at www.jpactheatre.com, or by calling JPAC’s box-office at 708-656-1800.

I've seen the show on Broadway with Tony winner's Christine Ebersole and Mary Louise Wilson and in it's Chicago premiere at the Northlight Theater with Joseph Jefferson Award winner Hollis Resnik so I'm looking forward to this.

ABOUT JPAC

The Jedlicka Performing Arts Center is in its 30th season of producing an affordable lineup of outstanding plays and musicals just outside the Chicago city limits. Under the leadership of Artistic Director Dante Orfei, JPAC provides a varied season of 3 plays and 3 musicals to over 6,000 patrons a year including over 300 subscribers. JPAC is committed to high production values and low prices and has become known for Chicago premieres of new and rarely produced work and for lavish productions of large-scale Broadway musicals. For more information, please visit http://www.jpactheatre.com/.

Dixie's Tupperware Party

Off Broadway’s Hilarious
“Dixie’s Tupperware Party”

At The Royal George Theatre March 18th - May 15th, 2011

Tickets Go On Sale Wednesday, Jan. 12th

CHICAGO -“Dixie’s Tupperware Party,” the hilarious show starring Dixie Longate which turned Off-Broadway into a Tupperware-mania celebration and garnered the prestigious 2008 Drama Desk Award Nomination rolls into the Royal George Theatre Cabaret (1641 North Halsted, Chicago) for a limited eight-week engagement beginning March 18th through May 15th, 2011. Written by Kris Andersson, the production is playing in Chicago as part of a 20-city national tour.

“Dixie’s Tupperware Party” stars Dixie Longate, as the fast-talking Tupperware Lady, who has packed up her catalogues and left her children in an Alabama trailer park to journey across America. Critics and audiences have howled with laughter as Dixie throws a good ol’ fashioned Tupperware Party filled with outrageously funny tales, heartfelt accounts, FREE giveaways, audience participation and the most fabulous assortment of Tupperware ever sold on a theater stage!

Loaded with the most up-to-date products available for purchase, Longate will share how she became the number one Tupperware seller in the world, as she educates her guests on the many alternative uses she has discovered for her plastic products.

Produced by Down South LLC, Margaret Cotter and directed by Patrick Richwood, “Dixie’s Tupperware Party” will feature costumes designed by Longate, lighting designed by Richard Winkler, set designed by Steven Kemp and sound by Christopher Bond.

NBC Today Show declares this show is “Not your grandmother’s Tupperware Party!” The New York Times raves, “The show is part zany and part double-entendre! …Audience members find themselves clapping and singing… and you can actually buy Tupperware!” Playbill exclaims, “She’s a one-woman tour-de-force.” The Associated Press says, “Dixie is all smiles and sweet sugar, snapping her gum the whole time with an insouciant charm.”

The performance schedule is as follows: Tuesday through Thursday at 7:30 p.m., Friday at 8 p.m., Saturday at 3 p.m. and 8 p.m. and Sunday at 3 p.m.

For more information about “Dixie’s Tupperware Party” log onto http://www.dixiestupperwareparty.com/

TICKET INFORMATION
Tickets for “Dixie’s Tupperware Party” go on sale Wednesday, Jan. 12, 2011 at the Royal George Box Office (312) 988-9000, Ticketmaster.com or you can call Ticketmaster at (800)982-2787. Tickets are also available at all Ticketmaster retail locations (including select Carson Pirie Scott, Coconuts and fye stores). Ticket prices are $44 for the weekday performances and $49 for the weekend performances. For groups of 10 or more, please contact Group Theatre Tickets at http://www.grouptheatertix.com/ or call (312) 423.6612.

For more information about the Royal George Theatre and box office hours visit http://www.theroyalgeorgetheatre.com/.

Hate Computers but Love them to..........

Having problems with my computer and Dell is telling me it'll be fixed by Monday. So expect a flood of articles upon my return.

StevenD

Theatre Review: SPAMALOT at Drury Lane Oakbrook

I have to say Drury Lane Oakbrook has come a long way since their productions in the 90's that I used to attend all the time. They did good work with great performances trapped in cheap productions. You can't say that anymore. It feels like your going to a theatre that is alive and flourishing as opposed to something that was stuck in the 70's and was wilting away and dying and I am so proud of them for doing that. They opened last night with the regional premiere of the smash hit Tony Award-winning Best Musical, SPAMALOT, directed by William Osetek, Artistic Director at Drury Lane Theatre, the new production lovingly "ripped off" from the motion picture Monty Python and the Holy Grail. Their production of it was top notch the show not so much.

SPAMALOT debuted on Broadway in 2005 and ran for over 1,500 performances, received 14 Tony Award nominations, winning three including Best Musical, Best Featured Actress for a pre "Grey's Anatomy's" Sara Ramirez and for Best Director (Mike Nichols), as well as the Drama Desk and Outer Critics Circle awards for Best Musical. The original cast recording of Monty Python's Spamalot won the 2006 Grammy Award for Best Musical Show Album. This ode to the classic Monty Python humor which is adored by millions of fans worldwide, tells the legendary tale of King Arthur and the Knights of the Round Table and their quest for the Holy Grail. Along the way, they encounter a chorus line of beautiful dancing divas and knights, flatulent Frenchmen, killer rabbits and one legless knight with singing and dancing in a Las Vegas Revue setting.

At Drury Lane they pull all the stops out and it works for almost the entire show up until the last half hour when you feel like even the kitchen sink isn't going to be enough, and if they could they would have. David Kortemeier looking a lot like Tim Curry but singing with a stronger voice played the straight man to the insanity around him and did well with his trusted Patsy Matthew Cowle giving able support and making you feel for him not getting his moment until the second act's famous "Always Look on the Bright Side of Life." As the other Knights John Sanders was all masculinity (or is he?) that he needed to be, Sean Allan Krill was a standout as Sir Galahad and sounded wonderful on one of the best songs in the show "The Song That Goes Like This" which I dare you not to laugh during the lyrics and how it's played. As Sir Robin Adam Pelty got his showstopper "You Won't Succeed on Broadway" and delivered it with zest and wit. Jackson Evans did well as the Historian and then swished it up as Prince Herbert. As The Lady of the Lake Broadway's Gina Milo has a gorgeous voice and good comedic timing but I thought lacked the over the top diva quality needed for the role to explode. Her "Diva Lament" got the crowd going but how could it not be with the lines that are built into it though she used some great pop inflections.

I applaud the rest of the cast both alive and inanimate (that bunny) for being able to do all that they did in timing, singing, dancing, and still not missed a chopped off arm or dancing Carmen Miranda's and the Laker Girls bit was hysterical. Tammy Mader deserves extra applause for that (when are we gonna get her back on stage?), The music director by Roberta Duchak (another 2nd City Diva who is missed and I keep meaning to pick up her solo CD. was excellent considering besides a few songs there really isn't a lot of general music to the show but handled well by Ben Johnson complete with picking up the mess left by the actors. I thought the costumes were ingenious and for the women were stunning and showy, the sets were all top of the line complete with drawbridges, Vegas neon lights, large trees, and anything else the imagination of theater could provide and the director William Osetek should be given Hosannas for what he did as a director. As many problems I had with the show I thought he turned in some great slapstick while reigning in everything else.

I think what I noticed here watching this excellent production of a so-so show was that it seemed to me that the Broadway creators were so desperate to have a hit show that they tailored the roles to the actors playing the knights all too well instead of making great characters that others could have a shot at. If you play Tim Curry you'll do well, if you play David Hyde Pierce or Christian Borle then your how can you go wrong. If you try to go off script then your screwed.

SPAMALOT previews December 30, opens January 6 and runs through March 6, 2011 at Drury Lane Theatre, 100 Drury Lane, Oakbrook Terrace, IL. Tickets are already selling quickly.

The performance schedule is as follows: Wednesdays at 1:30 p.m. ($35), Thursdays at 1:30 p.m. ($35) and 8 p.m. ($40), Fridays at 8:30 p.m. ($45), Saturdays at 5 p.m. ($45) and 8:30 p.m. ($46) and Sundays at 2:00 p.m. ($45) and 6 p.m. ($40). Lunch and dinner theater packages range from $49.75 to $68 depending on the day of the week. Student tickets start as low as $20 and Senior Citizen tickets start as low as $29 for matinees and $43.75 for a matinee luncheon package. For reservations, call the Drury Lane Theatre box office at 630.530.0111, call TicketMaster at 800.745.3000, or visit http://www.drurylaneoakbrook.com/.