Stark Sands and Laura Osnes as Bonnie and Clyde
__________________________________________________________
By Carol Davis

LA JOLLA, California —We can deny it all we want but most of us are intrigued with the glamour and glitz that goes along with most Hollywood types. In some cases it doesn’t even have to belong to Hollywood at all. I love reading about legendary figures; what they do, how they did it, how they arrived at becoming so big and how the press and public treat and/or react toward them. (Oy, poor Tiger)

There is something both mysterious and romantic about the idea of saying, “to hell with convention, I’m going to do it my way” (Frank did) because that’s usually the case when someone we read about seems larger than life.

Bonnie Parker and Clyde Barrow were two such characters, and I use the word characters not in a demeaning sort of way, but to illustrate that they were truly characters of their own making; their very own creations who lived up to and in some ways beyond their own expectations for whatever that’s worth.

Many who saw the 1967 movie version of their escapades will remember the beautiful Faye Dunaway as the sculptured and lean Bonnie Parker and the handsome, virile and sinewy Warren Beatty on the run, bathtub lovers whose claim to fame followed them wherever they went, whatever they did even in the afterlife.

So it goes with the new Ivan Menchell (book), Frank Wildhorn (music) and Don Black (lyrics) depression era musical drama Bonnie and Clyde now in a world premiere at The La Jolla Playhouse through Dec. 20^th. What you might ask, do Bonnie and Clyde and musical theatre have to do with each other? Before I saw the show someone asked me, “Who wants to see a shoot em up musical about two pesky, self-absorbed outlaws who randomly killed innocent bystanders or anyone else who got in their way”?  Based on the opening night’s audience response, a lot, I guess!

The three creators Menchell, Wildhorn and Black come to the table with serious credits to their names. Menchell worked on the book to the musicals The Prince and the Pauper, Chitty Chitty Bang Bang and now Bonnie and Clyde. He also wrote the bittersweet 1990 comedy The Cemetery Club about three Jewish widows whose husbands died and the widows are now in different stages of healing. They meet once a month at the cemetery, where the three deceased spouses lay buried, to pay their respects. It later became a movie starring Ellen Burstyn and Olympia Dukakis. Wildhorn’s Scarlet Pimpernel and Jekyll & Hyde with Black’s Sunset Boulevard complete the troika.

If anyone had any doubts that the story of the star crossed lovers, Bonnie and Clyde would be different or had somehow changed from the two outlaws that they eventually became or that the ending might be more glamorous because it is a musical, doubt no longer. Menchell relied on several sources to write the book for the show; Go Down Together: The True Untold Story of Bonnie and Clyde by Jeff Guinn, Bonnie and Clyde The Lives Behind the Legend by Paul Schneider and ‘from first hand accounts taken from the book Ambushed by Ted Hinton’.

While some practice at changing history, these collaborators, according to interviews with the creators about the making of the show, were more interested in focusing on the “tragic love triangle between Bonnie, Clyde and Ted Hinton (the Dallas County, Texas Deputy Sheriff who was the youngest of the posse that ambushed the couple and killed them outside Louisiana in 1934. He tried to court her with the approval of her mother before she met up with Clyde) and how Bonnie and Clyde were and what it must have been like for the parents to have children like this?”

To sum it up Menchell added… “We want all of it-the tragic love story, the passion, the commitment to family, everything that endears us to them-and yet still keep them homicidal”. Tongue in cheek or not, I think we got it all under the fine direction and musical staging of Jeff Calhoun and his talented pool of actors and technical staff.

It’s almost hard to believe that the couple was barely out of their teens when they met, robbed more than a dozen banks, killed 13 innocent people and were gunned down by a volley of bullets in their car and all before they were out of their twenties. What a waste of human life! Funny thing is (and the musical capsules this) they both came from decent hard working families.

Ironically, Clyde’s brother Buck (Claybourne Elder) was also drawn into the mix while his zealously religious wife Blanche (Melissa van der Schyff You’re Not Going Back to Jail) tried to keep him on the straight and narrow but he couldn’t resist the money and the excitement. On the other hand Bonnie’s devoted, both religiously and maternally, mother Emma (Beautifully and poignantly portrayed by Mare Winningham) tried to reason with and counsel her daughter to no avail as well.

The story plays out against the depression era backdrop on Tobin Ost’s multi level set of sliding bleached plank boards that frame the backdrop (used successfully for Aaron Rhyne’s projections of the real life characters which brought the story back to reality) of the different locations giving the impression and the look of a drought-ridden locale. Ost also designed the 30’s looking costumes; Bonnie’s being the most eye catching while the others are depression- era perfect.

For a new musical, Wildhorn’s score is catching, with a combination of blues, gospel, folk and ballads that reveal the moods, times and characters it depicts. The tone of The Long Arm of the Law sung by the Sheriff (Wayne Duvall) in Act I and then at the end of Act I in a reprieve are powerful reminders of who the two are and that they will get their comeuppance.

Compared to Emma’s lament, The Devil sung with passion and grief for her daughter to You Love Who You Love, (Bonnie and Blanche) You’re Going Back to Jail, (Blanche and Salon women) The World Will Remember Me (Clyde and Bonnie) and finally Dyin’ Ain’t So Bad (Bonnie and Clyde) the music’s trajectory with its differing styles moves the story but never really reveals any more about the players, their motives or drives than what we hear in their conversations or see in their actions. Some of the reprieves could be eliminated to shorten the length without taking anything away from the overall production.

Clyde was a conceited self professed bad boy who never looked back on what he did or thought, “Other people got dreams, I got plans”. For him there was no option; no plan ‘B’. And in a brief exchange when Bonnie commends his shooting skills she says, “You’re good”. “I’m not good, I’m the best” he retorts.

His biggest complaint was that Bonnie never put his name first in her poems about them. She hoped to get them published some day. (You’ve read the story of Jessie James of how he lived and how they died. If you’re still in need of something to read, here’s the story of Bonnie and Clyde… Some day they’ll go down together they’ll bury then side-by-side. To few it will be grief, to the law a relief, but it’s death for Bonnie and Clyde. The Trails End by Bonnie Parker). And they were.

Stark Sands has the perfect look and mannerism as the self-confident and arrogant bad boy, Clyde Barrow who entices Bonnie to travel with him convincing her that they would be good together. He’s also in fine voice especially since this is his first musical. He shows no remorse for anything he has done, he’s that vain. Stark is convincing in his mannerisms and ways and a perfect match with Laura Osnes’ Bonnie.

Laura Osnes is a beautiful, bored and captivating Bonnie Parker whose need to escape from the humdrum world of her mother, working as a waitress in the depressed and repressive Texas and tired of her would-be suitor is a recurring theme. Between her lust for adventure and a willingness to follow Clyde into any situation and his need to be recognized at any cost, the formula for disaster is set.

Calhoun’s eye for the perfect cast is evident in the fact that there isn’t a weak link anywhere. Wayne Duvall is excellent as the out to get the pair at any cost Sheriff. Mike Sears (fresh from Man From Nebraska recently seen at the Cygnet Theatre) shows another side in multiple roles.  Chris Peluso’s Ted is strong and well meaning as well as the strong arm of the law and Michael Lanning stirred the audience with his (God’s Arms Are Always Open) number as the preacher.

Music supervisor John McDaniel who is in charge of orchestrations, incidental music and vocal arrangements conducted his six-piece band flawlessly. Michael Gilliam and Brian Ronan are right on with the mood lighting and sound design.

The trio of creators makes a perfect case for the two young lovers to wreak havoc on those around them while still having some sympathy for those left to fend off the residual effects of their actions. Mare Winningham whose role of Emma, Bonnie’s mother, has been expanded from the movie version is very much a part of the backdrop as is Clyde’s brother Buck whose loyalties lay on the side of Clyde rather than the pleas of his wife and his mother.

Menchell’s book is captivating and enticing and the two lovers create a convincing and tragic love story. Black’s lyrics are both fun and pointed and get the message across but its Wildhorn whose musical variety and mix of different genres that are the most impressive.

Like it or not is what it is and if we don’t learn from our past it will bite us in the end. Walking to my car, I heard someone actually humming a tune from the show. That’s always a good sign. Enjoy! Hats off to the La Jolla Playhouse.

Bonnie and Clyde will continue through Dec. 20^th in the Mandell Weiss Theatre.

See you at the theatre and Happy Chanukah!

*
Davis, a San Diego based theatre reviewer, may be contacted at davisc@sandiegojewishworld.com

By Leah A. Zeldes

Academy Award-winning actress Olympia Dukakis appears in Chicago Monday, Nov. 16, to read from an upcoming American Blues Theater production. The reading, a passage from ABT’s spring 2010 show, "RIPPED: The Living Newspaper Project" by Eduardo Machado and Rick Cleveland, takes place during a benefit for the newly-reconstituted troupe. Dennis Zacek, artistic director of Victory Gardens Theater, will also read.

Highlights of benefit, 6:30 to 8:30 p.m. Monday at the Bridgeview Bank, 4753 N. Broadway, also include live blues by Chicago band The Skirts, an auction of such items as local theater tickets and a walk-on Broadway role, food and drinks. Tickets are $75, $125 for VIP admission, which includes an earlier reception with Dukakis.

Dukakis, whose film credits include Steel Magnolias, Mr. Holland’s Opus and Moonstruck, for which she was named Best Supporting Actress, is a long-time friend of ABT ensemble member Carmen Roman. "I’ve watched this company continuously produce incredible, groundbreaking work," Dukakis said. "The 2009/10 season is no exception. I’m honored to be a part of their benefit celebration, and fully support this inspirational Chicago ensemble."

"Starting from scratch without staff and absolutely no money has certainly been a challenge," said ensemble member Gwendolyn Whiteside, part of the company’s executive/artistic/administrator triumvirate, along with Roman and Heather Meyers.

In March, 23 members of the ensemble left American Theater Company, leaving behind a $1 million annual budget and taking back the American Blues name under which that company formed in 1985. The group, which comprised most of ATC’s actors, departed over differences with its artistic director, P.J. Paparelli, who was hired two years ago from Perseverance Theatre in Alaska. Paparelli had reportedly expelled several members of the company and allowed members increasingly less influence on theatrical decision making.

American Blues Theater members include Cleveland, Dawn Bach, Ed Blatchford, Matthew Brumlow, Kate Buddeke, Casey Campbell, Dennis Cockrum, Lauri Dahl, Tom Geraty, Cheryl Graeff, Lindsay Jones, Kevin R. Kelly, Ed Kross, James Leaming, John Mohrlein, Jim Ortlieb, William Payne, Suzanne Petri, Tania Richard, Editha Rosario, John Sterchi and Stef Tovar.

"I believe the work of the ABT ensemble is vital and important to Chicago’s theater community and our city as a whole," Zacek said.

NO PEOPLE LIKE SHOW PEOPLE: Talk about yer star-studded evenings. Ann Blyth, Connie Stevens, Shirley Jones, Debbie Reynolds, Ruta Lee and Nancy Sinatra are among the sparklies set to honour indefatigable

REDGRAVE: Tennessee tribute

entertainer Mickey Rooney at the Thalians Gala this Sunday in Hollywood. (Did you know that Mickey, who married eight times, has been wed to his current missus Jan Chamberlin for more than 30 years? That’s gotta be a Tinsel Town record in itself!) … the late Patrick Swayze will be among the honorees at America Dances, the 24th Anniversary Jubilee of Career Transition for Dancers. Headliners for Monday night’s event at New York’s City Center include four-time Emmy Award winner Valerie Harper and Tony Award winner Ann Reinking. For all the details, including who’s hoofing, click here … and Eli Wallach & Anne Jackson, Vanessa Redgrave, Marian Seldes, John Guare, Olympia Dukakis and John Patrick Shanley are among the marquee names set to participate in an

KASH: Harvest time

evening of poetry, theater, and reminiscences in honor of the induction of Tennessee Williams into The Cathedral of St. John the Divine Poets’ Corner next Thursday in Manhattan.

TRICK OR TREAT: Only three more chances to see dynamic duo Linda Kash and Paul O’Sullivan play multiple roles in Harvest. The Ken Cameron comedy is set to close Saturday night at Showplace Peterborough … the two-day Zoomer Show is set for this weekend at the Direct Energy Centre at the CNE … and the Royal Cinema on College Street celebrates the scary season tonight with a 7 pm Halloween Double

STROMBO: with Anne tonight

Bill: Zombies: When the Dead Walk, and The Houdini Code, two intriguing documentaries produced by Donna Zuckerbrot.

TOGETHER AGAIN: Your boyfriend George Stoumboulopoulos welcomes Anne Murray back to his red chairs tonight on The Hour to talk about her new autobiography All Of Me …  and speaking of autobiographies, recently I mentioned that I thought comedian Kathy Griffin’s new autobiography has the catchiest title of the fall literary season (yes, she  really did call her book Official Book Club Selection.)

MANDEL: Touche-pas!

But some close runners-up are now looming. Obsessively compulsive Howie Mandel calls his book Here’s the Deal: Don’t Touch Me. Paul Shaffer’s Letterman years memoir is called We’ll Be Here For The Rest Of Our Lives. Inside its pages, current headline-earner Andre Agassi is reportedly living up to the title of his tome, Open. And Don Cherry wants to make it as simple for us as possible, so he’s called his new collection of on-and-off-the-ice fables Don Cherry’s Hockey Stories And Stuff.

OUR TOWN: The 2009 International Diaspora Film Festival opens here Sunday with a wide range of unusual events. Highlights include David Amram’s

MURRAY: on The Hour tonight

evening of music and dance from the Middle East, At Home Around the World, on Tuesday 3 at Revival, and the Toronto premiere of filmmaker Teri McCluhan’s 2008 documentary on Badshah Khan, The Frontier Gandhi, on Wednesday at Innis Hall. For more info on Diaspora events, click here … dazzling dance demon Noam Gagnon returns to Toronto Nov. 6-7 in The Vision Impure, an evening of solos presented by DanceWorks as part of Harbourfront Centre’s NextSteps series at the Enwave Theatre … and the seventh annual Weekend To End Breast Cancer saw 4,615 participants raise a staggering $11.6 million for Princess Margaret Hospital’s ongoing mission to conquer cancer in our lifetime. Organizers will broaden the base next year with The Weekend To End Women’s Cancers, giving walkers an option to designate whether the money they raise goes to breast cancer or gynecologic cancers research, treatment and care. Expect a HUGE turnout.

-/-

Julie Christie and Gordon Pinsent look out onto an uncertain future.

(Lionsgate) Julie Christie, Gordon Pinsent, Olympia Dukakis, Wendy Crewson, Michael Murphy, Kristen Thomson, Alberta Watson, Grace Lynn Kung, Stacey LaBerge. Directed by Sarah Polley.

One of the horrors of aging is Alzheimer’s disease. The effect of the disease on the afflicted person is devastating, but the effect on the loved ones can be even more harsh.

Grant Anderson (Pinsent) and his wife Fiona (Christie) have a good life. They’ve retired to a beautiful cabin in rural Ontario and live comfortably, surrounded by the accumulations of a long life together. However, there are some disturbing signs of change coming into their lives; Fiona is growing increasingly more forgetful, and has started to do some odd things, as when they are putting dishes away after a meal and she puts the frying pan into the freezer.

Diagnosed with Alzheimer’s, the practical Fiona has no desire to subject Grant to the agony of caring for her while she slowly and inevitably deteriorates. She makes the unilateral decision to check out a local nursing home. At first upset at his wife for acting on her own, he bows to her strong will and sensibility and drives her to the facility.

Once there, they find a pleasant environment with a caring staff but Grant balks when the facility’s director (Watson) informs him that he won’t be allowed to see his wife for 30 days while she adjusts to her new residence. He begs Fiona to reconsider, but she is firm and with a final sweet goodbye, sends him away. When he returns, the changes in her are pronounced. She’s developed a relationship with Aubrey (Murphy), a mute patient whom she cares for as a nurse for a patient. Whether the relationship is more than that isn’t clear; Grant wasn’t faithful to her early in their marriage and he wonders if she’s taking revenge for that. Some days she seems to recognize him, others it’s clear she has no clue who he is. Devastated, Grant takes advice from a sympathetic nurse (Thomson) and Aubrey’s wife (Dukakis), a practical, plain-spoken woman who sees the inevitable but can’t quite bring herself to let go.

Director Polley, best known as an actress in such films as The Adventures of Baron Munchausen and the “John Adams” miniseries as well as an impressive roster of indie movies, proves to be a director of enormous potential. She brings a deft touch to a subject matter that could easily become maudlin in less capable hands. Her gaze is unflinching and honest but never feels forced. The Andersons are robust and handsome in their age, but they aren’t archetypes; they’re real people with flaws and no clear direction of what to do. That’s a tribute to the original Alice Munro short story it was adapted from and also to Polley’s writing for which she was Oscar-nominated.

Most of the movie takes place in the winter, but Polley resists the temptation to make the film overcast and gloomy. Instead, nearly everything takes place in bright winter sunlight reflecting off the snow that sparkles like diamonds. The winter metaphor works for that reason without becoming cliché.

Christie and Pinsent are in every scene, either separately or together, and they both deliver outstanding performances. While Christie was recognized with an Oscar nomination and a Golden Globe win, I found Pinsent’s performance more riveting as he captures the agony and desperation of a good man seeing the love of his life deteriorate before his eyes.

Despite the acclaim and Oscar buzz, this Canadian production didn’t receive widespread distribution here in the States. Nevertheless this is a movie worth seeking out not just for the subject matter, which may be off-putting for those with phobias about aging and the issues that the elderly face, but also for the on-screen performances which are as compelling as any you’ll see in a small film like this. You may also want to rent it if for no other reason, to mark the occasion of the emergence of a great director who is bound to release some wonderful movies as her career progresses.

WHY RENT THIS: Outstanding performances by the entire cast, particularly the two leads. Beautiful snow-covered exteriors in rural Ontario. An impressive script that never stoops to emotional manipulation or maudlin clichés.

WHY RENT SOMETHING ELSE: Subject matter may be too age-centric for some. Some of the subplots are merely touched upon without satisfying resolutions.

FAMILY VALUES: The subject matter may be a bit too intense for kids wondering why grandpa is so forgetful.

TRIVIAL PURSUIT: Lionsgate paid $750,000 for the rights to distribute this film.

NOTABLE DVD EXTRAS: Nothing notable on the American release; however Canadian readers might look into the 2-Disc special edition for a short film from Polley entitled I Shout Love as well as additional film commentary from Christie.

FINAL RATING: 9/10

TOMORROW: Strayed (Les Egares)

Greek Celebs Share Their Favorite Greek Foods:

The lovely Melina Kanakaredes is very definite: her favorite Greek dish is Dolmathes me Kima – stuffed grape leaves with meat, topped with avgolemono sauce.  A fave of Olympia Dukakis is Grilled Octopus. It’s a classic image that comes to mind when many think of Greece: sitting under an umbrella by the seaside, with ouzo or wine and a plate of freshly grilled octopus. It’s delicious, and you can create the same atmosphere at home.

Credit about.com

For more info please visit: http://greekfood.about.com/od/discovergreekfood/tp/stars_picks.htm

New Continent. New Adventure. Still No Clue.

O nosso Bibliotecário preferido está de volta para mais uma aventura, quase idêntica aquela com que já nos tinha presenteado, sendo que agora é acompanhado por uma dama que sabe tanto quanto ele. Agora o alvo é encontrar as famigeradas Minas do Rei Salomão. Esqueçam as aventuras de Indiana Jones, The Librarian: Return to King Solomon´s Mines é que é do baril. Logo a começar temos Carsen a encontrar uma caveira de cristal (coisa que o Indiana só vai encontrar dois anos depois). De seguida, ao lado da sua mãe, tenta recordar os tempos que passou com o seu pai e lembra-se dos desenhos que fazia ao ouvir as histórias contadas por ele. Assim, apercebe-se que o seu pai era um guardião do segredo de onde se encontravam realmente as Minas. De Jonathan Frakes, com Noah Wyle, Gabrielle Anwar, Bob Newhart, Jane Curtin, Olympia Dukakis, Erick Avari, Hakeem Kae-Kazim, Robert Foxworth, Zahn McClarnon, Lisa Brenner, Jonathan Frakes, Peter Butler, Tertius Meintjes, Dawie Ackermann e Mehboob Bawa.

Ora vamos lá ver o que dizem estas fotocópias de How to Become Indiana Jones for Dummies

Mais vale ver o programa do Goucha

2006: Away from her di Sarah Polley

Ottimi i giudizi della stampa: “…la regista sa mantenere l’equilibrio difficile della dedizione, la forza e delicatezza dei sentimenti” (L’Espresso), “Guardandosi dal mettere sotto sequestro le nostre emozioni, questa dolceamara storia di tramonto ha il coraggio di parlarci di cose come il tempo che passa e le sue ferite, l’amore e la solitudine…” (Repubblica), “Percorso da un dolore sommesso e composto, immerso come per contrasto in una luce accecante che sembra a sua volta sfumare i contorni delle cose, Away From Her lascia segni profondi nel cuore” (Ciak) .

La canadese Sarah Polley ha meno di trent’anni ma ha già un curriculum di tutto rispetto come attrice, sceneggiatrice, regista, produttrice…
Lontano da lei è l’ultimo lavoro da lei diretto ed ha fondamentalmente il pregio di essere doppiamente coraggioso: nell’essere un film più europeo (bergmaniano quasi) che hollywoodiano, nell’affrontare una tematica (l’Alzheimer) tutt’altro che accattivante (e infatti il botteghino americano non l’ha premiato).
Un’opera asciutta al massimo (i patetismi e i facili sentimentalismi sono rigorosamente evitati) che poco concede allo spettatore. Immediato è il paragone, nell’affrontare un argomento così angoscioso, con La famiglia Savage, anche questa diretto da una donna.
Alla Polley non riesce quello che ottiene la Jenkins: emozionare il pubblico, coinvolgerlo, interessarlo al dramma dei protagonisti. A mio parere Lontano da lei (lodato e apprezzato, come detto, dai maggiori critici) ha due sostanziali difetti: centra la sua attenzione quasi esclusivamente sulla coppia colpita dal dramma (il che genera poco movimento nella storia), ritrae figure in cui è difficile identificarsi. Julie Christie (candidata all’Oscar e premiata con il Golden Globe ) è bravissima ma il suo personaggio è piatto e monocorde: sempre uguale dall’inizio alla fine, mai un dubbio o una perplessità, mai un momento di sconforto o di disperazione…
Leggermente più variegato il personaggio interpretato da Gordon Pinsent ma l’unica figura che sembra  reale, e quindi avvicinabile a noi spettatori, è quella interpretata da Olympia Dukakis: una donna che ha delle certezze, delle debolezze, determinata e indecisa nelle sue scelte contraddittorie, che combatte, che cede … un vero essere umano.
Formalmente il film è perfetto (fotografia, movimento di macchina, inquadrature, taglio di immagini, colonna sonora, ambientazione… tutto è al meglio) ma nel complesso risulta pesante e non facilmente digeribile.

Da vedere comunque, per il difficile argomento che affronta seriamente e per l’ottima prestazione dell’intero cast.

scheda

Welcome to Another Year at the Antaeus Academy,

The prestigious Antaeus Academy announces auditions for the fall sessions of Shakespeare Workout and Classical Styles.   Become a part of a vibrant theater community as you tackle material that demands the utmost of your talent!

From A2 (Academy Company) member Chris Pine:

“What I enjoyed about the class was the feeling that good work was demanded of you.  It always felt like a ‘no bullshit’ class.  It wasn’t ‘Hollywood’: didn’t matter how you looked or how many credits you had.  You were being taught great literature, it’s analysis and its performance from people whose credits would make you blush.  And I loved that.  There’s a tremendous respect for the actor as an important artist that’s taught in the academy and reflected in the community as a whole.  I think that’s really it: the academy is a door into a wonderful community of actors who truly, wholeheartedly love what they do, and I am honored to be part of it.”

Our classes open for auditions include…

CLASSICAL STYLES!

An intense excursion in classical scenework, this 14 week workshop focuses on Shakespeare, The Greeks, and Shaw, Coward, or Wilde.

Taught by Artistic Director Jeanie Hackett with Company Member Geoffrey Wade and Artistic Associate Cindy Marie Jenkins, and featuring our usual dazzling array of expert guest moderators! Workshop culminates in a presentation for Antaeus Company members and invited guests.

Meets Tuesdays, 7 – 11pm beginning September 15th
Class fee: $550 for 14 week session
Class size: 24 – 26
Open to actors age 18 – 35

Past Moderators included: Rowena Balos, Annette Bening, Kate Burton, Brian Cox, Olympia Dukakis, Sheldon Epps, Sabin Epstein, Jeanie Hackett, Michael Hackett, Gregory Itzin, Jessica Kubzansky, Jonathan Lynn, Art Manke, Dakin Matthews, Alfred Molina, Tom Moore, Jeffrey Nordling, Stefan Novinski, Austin Pendleton, Andy Robinson, Stephanie Shroyer, Daniel Sullivan, Geoffrey Wade and many others

and SHAKESPEARE WORKOUT!

Experience the challenges and rewards of playing Shakespeare in sessions moderated by a rotating group of L.A.’s top actors, directors and acting teachers. Now an ongoing, year-round program, SW features a different guest moderator every month. Actors new to the workshop commit to an initial 12-week session; returning actors may join the workshop on a by-the-month basis. Open to actors of all ages and levels of experience, the workout focuses on text analysis, monologue and scene work.

Meets Tuesdays 2 – 5 pm, beginning September 8th
Class fee, new actors: $550 for initial 12 week session
Class fee, returning actors: $135 per month
Class size: 16 – 20 actors per class
Open to actors of all ages

Please email your picture and resume with audition request to academy@antaeus.org. Or, mail to:

The Antaeus Company
5114 Lankershim Blvd.
North Hollywood, CA 91601
Attn: Cindy Marie Jenkins

Upon review, you will be contacted for an audition appointment.

Please prepare one classical monologue, no longer than two-minutes.

…I thought about writing a story about two old grandmothers (both recently widowed) who meet and fall in love at a retirement home.

I was interested in writing this story because I wanted to write about something that was far from my grasp of normal, everyday life. And what could be further from “normal” to me than lesbian grannies, right?

Eventually, this story would morph into “The Roberts”, a graphic novel I released last year with Shadowline/Image Comics. The lesbians became serial killers, the women became men.

When I was doing press and interviews for “The Roberts” I would openly discuss my creative process for the book and how the story sprouted from this idea of lesbian grandmothers.

Here and here are examples of such interviews.

So imagine my surprise today when my girlfriend sends me this link to an article in “Variety” magazine.

Lesbian grannies, huh? In a nursing facility. Really?

Not sure how to feel about that. That’s either a huge coincidence or outright thievery. Guess I’ll let you guys decide.

Contacting my lawyers,

-Shady

On June 20th, 1840, Massachusetts native Samuel F.B. Morse received a patent for his telegraph.

Another form of fast communication was the Hot Line between the U.S. and the Soviet Union, installed June 20th, 1963, during the presidency of John F. Kennedy (from Massachusetts).

In New Bedford, Massachusetts, on June 20th, 1893, Lizzie Borden (pictured) was acquitted of the ax murders of her mother and father.

And June 20th is the birthday of Oscar winner Olympia Dukakis (1931), a Massachusetts native and cousin of former Massachusetts Governor Michael Dukakis.

I have been a fan of Jules aka Julia Roberts, since I can remember. I have just always loved her loads, and still to this day watch her movies over and over, while hoping that she will keep making more movies. Maybe even add more Oscar’s to the one she has as well. That would be fantastic!

To pick this top 10 I based it on how enjoyable the movie is and how much I love Jules character and the acting. So some movies may be missed off because of the enjoyed factor. This is also a difficult list to complete as it quite often changes around.

Films I’ve seen: Pretty Woman, Erin Brockovich, Runaway Bride, Hook, Steel Magnolias, Conspiracy Theory, My Best Friends Wedding, Oceans 11, Oceans 12, America’s Sweethearts, Notting Hill, Charlie Wilson’s War, Closer, Mona Lisa Smile, Confessions of a Dangerous Mind, The Mexican, Stepmom, I love Trouble, The Pelican Brief, Dying Young, Something to Talk About

Films yet to see: Mary Reilly, Sleeping with the Enemy, Michael Collins, Everyone Says I Love You, Full Frontal, Duplicity

So from the above contenders to make it into my Julia Roberts Top 10 . . .

10. Hook

Why: Well this was always one of my favorite movies when I was young and I still love watching it as well. I think it is such a good take on the Peter Pan story . . . what would happen if he did grow up. Just think its a really interesting take on one of the most well known stories, of the boy who did not grow up.

Fav Jules Moment:I think it just has to be the fact that she is Tinkerbell and has wings, that is just great haha.

Fav Jules Quote: “You know that place between sleep and awake? That place where you still remember dreaming?”
[Peter nods]  “That’s where I’ll always love you… Peter Pan. That’s where I’ll be waiting.”

9. Steel Magnolias

Why:The cast, for starters is just incredible, Jules, Sally Field, Shirley MacClaine, Olympia Dukakis, Daryl Hannah and Dolly Parton . . . it really doesnt get much better than that. The tagline of this movie really does sum it up, the funniest movie to ever make you cry.

Fav Jules Moment: I think it has to be for Shelby to decide to have a baby, even though that meant putting herself at risk with her health.

Fav Jules Quote: “I would rather have thirty minutes of wonderful than a lifetime of nothing special.”

8. Oceans 11

Why: I dont want to start falling into fantastic cast, but again it really is great, and for Jules to be the leading lady in this is even better. I love the storyline to this movie, it is so clever and really keeps you guessing until the end and your never quite sure if your going to be right.

Fav Jules Moment:Tess telling Danny that they are over (even though she forgives him in the end). But seeing someone being good enough to say no to George Clooney deserves a lot of credit.

Fav Jules Quote: “You of all people should know Terry, in your hotel, there’s always someone watching.”

7. America’s Sweethearts

Why:Two of my favorite actresses in the same movies . . . and as sisters !!! What is not to love, ok the story is a bit predictable but I really do love seeing Catzy and Jules together on the screen. I do think John Cusack and Billy Crystal made this movie very enjoyable and amusing. It is a very tongue in cheek comedy, poking fun at the movie industry.

Fav Jules Moment: When she tells Eddie (John Cusack) that she was the one by the pool and that she has liked him for years.

Fav Jules Quote: [imitating Gwen] “Oh, Kiki, my butter has touched another food. I need new butter.” “Anything you want, honey.” That’s the way it goes, Lee. Right? You’re a publicist. You know, anything they want, right? She’s got a green dress. Looks like crap on her. Brings out the circles under her eyes. She knows it, I know it, she gave it to me. It actually looks pretty good on me. Then she said, well, maybe she wanted it back. She doesn’t want it, she just doesn’t want me to have it. That’s the truth.”

6. Runaway Bride

Why:Reuniting Jules with Richard, who share so much chemistry with each other, and just seem to fit together so well. So for there second movie together this was a good choice. Another rom-com which is just so good, and all about getting married . . . or running in Maggie’s case.

Fav Jules Moment:Saying the perfect proposal to Ike . . . after he had told her what the perfect proposal would be. (see fav quote below)

Fav Jules Quote:“I guarantee there’ll be tough times. I guarantee that at some point, one or both of us is going to want get out. But I also guarantee…
[starts to cry] . . . that if I don’t ask you to be mine, I’ll regret it for the rest of my life. Because I know in my heart… you’re the only one for me.”

5. Stepmom

Why:Because it really broke my heart so much! A fantastic dramatic movie with funny parts, with two incredible actresses at the helm in Jules and Susan Sarandon. They really were just fantastic in their arguments and then intimate conversations. Heartbreaking because of the story line, and that the children do not like Isabel at first but they all get along to get through it together.

Fav Jules Moment: When Ben hurts himself and has to go to hospital . . . when she sings to him.

Fav Jules Quote: I struggled to pick just a Jules quote . . . so this little exchange between her and Susan <3

“Isabel: [backstage at the school Thanksgiving play] I have something to tell you.
Jackie Harrison: You’re having Michael Jackson’s baby.
Isabel: That, *and* Anna is totally over her head for Brad Kovitsky.
Jackie Harrison: [gasp] No!

4. Erin Brockovich

Why:She eventually won an Oscar!!! For her role as Erin . It is a very good true story of a woman who ended up working in a lawyer’s office made such a difference to a small town and helped impact people’s lives. Some of the dialogue for Jules is just fantastic too.

Fav Jules Moment: All of her lines towards the other women in the office and Ed when they really do not like her to begin with.

Fav Jules Quote: “For the first time in my life, I got people respecting me. Please, don’t ask me to give it up.”

3. Closer

Why:Because it is so messed up and seems more true to life than other movies. It is a totally different type of role for Jules, and I have to admit some of the lines she has it can be quite shocking at first as it is so far from her rom-com roots which are most well known to people. I just love how the lives of the 4 people are just so inter-winded and mixed up. The acting by all 4 is incredible, as no one else is in the movie.

Fav Jules Moment: When she is about to leave Larry and they have an argument about Dan, is all just fantastic acting in my opinion.

Fav Jules Quote: “Don’t stop loving me. I can see it draining out of you. It’s me, remember? It was a stupid thing to do and it meant nothing. If you love me enough, you’ll forgive me.”

2. My Best Friends Wedding

Why:I just love it so much, I have watched it so many times I really do no it all word for word and find myself singing along to the “say a little pray for you” part. I adore the soundtrack and when listening to different songs just picture the movie. It has to be every girl’s nightmare, your best guy friend who you have known for like ever getting married when you realise that you are indeed in love with him. But actually trying to split them up like Jules does is quite crazy haha. Kimmy (Cameron Diaz) is fantastic in this, I just love the karaoke “Just dont no what to do with myself . . . ” (I can do the best impression of that, haha). But one thing that kinda annoys me is that Michael (Dermot Mulroney) seems jealous when she says she is going to marry George (Rupert Everett) . . . I mean he is going to marry Kimmy but then looks jealous about Jules, that is a typical man thing. But she loans them her and Michael’s song <3

Fav Jules Moment: Loaning them the song at the wedding <3

Fav Jules Quote: “I had the strangest dream. I dreamt that some psychopath was trying to break the two of you up. Luckily, I woke up and I see that the world is just as it should be. For my best friend has won the best woman. I didn’t buy you a gift. But this is on loan until you two find your song…”

1. Pretty Woman

Why:It is the ultimate chick-flick/rom-com etc . . . and it is the role in which shot Jules to ultimate stardom and made her become loved so much. Which is probably strange when you remember that she is indeed a prostitute. Rich business man Edward (Richard Gere) ends up hiring Viven for the whole week, staying in the penthouse suite at a posh hotel. She attends different meetings and events with him, and yes they do end up falling in love. But they do have problems before eventually getting together in the end. But it is really just the best, I am yet to find a woman who does not like it.

Fav Jules Moment: Going back into the shop on rodeo drive . . . big mistake, big huge . . . one of the best moments. That every would just love to do!

Singing in the bath, to kiss by Prince.

Fav Jules Quote: ” I’m gonna treat you so nice, you’re never gonna let me go.”

This week I recommend *Away From Her*
Directed by: Sarah Polley
Starring: Gordon Pinsent, Julie Christie, and Olympia Dukakis

In General: Very touching, taking pauses to focus on expressions and subtlety precisely when needed.

What I Like: The fluid perspectives, marked by changing colours of the film, just slightly. The multiple use of one corridor is particularly strong. I love how the film deals with human error and sin in a lighthearted yet intense way. The karma that comes around and pokes you in the ribs is fierce-faced but also smiles like a Coyote Trickster. How you deal with guilt and regret can be a stake through your heart, or the beginning to something quite beautiful. You can build your own cage or release. The use of literature partially makes the film a tribute to words.

Isn’t it true however far we’ve wandered into our provinces of persecution, where our regrets accuse, we keep returning, back to the common faith from which we’ve all descended, back to the hands, the feet, the faces, children are always there and take the hands even when they’re most terrified. Those in love cannot make up their minds to go or stay. Artist and doctor return most often. Only the mad will never never come back. [...] Lovers have lived so long with giants and elves, they won’t believe again in their own size, and the artist prays ever so gently, ‘Let me find pure all that can happen…’. -from *Letters from Iceland” by W. H. Auden

Sarah Polley should continue to direct. She’s brilliant in so many ways.

Rating: VVVV

***
image from IMP Awards.

OLYMPIA DUKAKIS!!!

…we <3 Steel Magnolias

1987: Moonstruck di Norman Jewison

Il film che nel 1988 ha sbancato i botteghini di tutto il mondo, facendo altresì incetta di premi e riconoscimenti (Oscar, Golden Globe, Writers Guild of America, National Board of Review, Los Angeles Film Critics Association, Casting Society of America, David di Donatello, American Comedy Awards, Festival di Berlino…).

Innumerevoli i giudizi positivi:
“Jewison dirige con gusto… godibile e divertente (Francesco Mininni). “Vivace e cordiale (il Morandini). “Garbata satira degli italoamericani e dei loro costumi. Bravissima Cher (Teletutto). “Stregata dalla Luna è uno dei pochissimi film che il critico può raccomandare al lettore con una strizzata d’occhio e senza particolari istruzioni per l’uso” (Tullio Kezich). “Il cast è notevole e Jewison dirige al meglio i suoi interpreti” (Film.tv.it). “Deliziosa commedia dai toni poetici e fiabeschi” (Daria Castelfranchi). “Si può essere romantici senza essere sdolcinati, si può far ridere il pubblico senza chiedergli di lasciare il cervello fuori dalla porta del cinema, si può insegnare qualcosa a chi guarda senza provocargli complessi di inferiorità: Ronnie e Loretta, ma anche Cosmo e Rose, i genitori di lei, o si suoi zii, o il simpaticissimo nonno, sono tutti personaggi veri, sbagliati, imperfetti, felici e infelici al contempo, come lo sono io, come lo siete voi” (Leia Skywalker).

Norman Jewison ha al suo attivo capolavori come Jesus Christ Superstar e La Calda Notte dell’Ispettore Tibbs. Qui rispolvera la gloriosa sophisticated comedy (che tanto lustro diede alla Hollywood degli anni Trenta) e realizza un piccolo gioiello che non sarebbe dispiaciuto a un Frank Capra o a un Ernst Lubitsch.

Ricco di sentimento e di ironia, accattivante e coinvolgente, mai banale o caricaturale, il film ci offre un simpaticissimo ritratto di “Little Italy” facendoci innamorare dei vari personaggi che vediamo agire, mai insulse macchiette ma tutti con uno spessore e un approfondimento psicologico che rendono onore alla splendida sceneggiatura (di John Patrick Shanley, regista de Il Dubbio).
Dialoghi brillanti e intelligenti, buone battute, situazioni divertenti trasformano una trama vista mille volte in qualcosa di originale e di inedito che cattura la nostra attenzione e ci rende compartecipi come raramente accade. Il ritmo è veloce, l’ambientazione e la colonna sonora sono da plauso, la performance degli attori da 10 e lode (una vera gara di bravura, ognuno al suo meglio e con caratterizzazioni indimenticabili).

Andrebbe naturalmente gustato in lingua originale, ma il doppiaggio non è disprezzabile ed abilmente evita di dare l’impressione dell’artefatto e del falso (“la versione originale del film è favolosa, poiché i colloqui in dialetto siciliano sono rimasti inalterati e le voci degli attori quando parlano slang americano sono encomiabilmente siciliane”, Ciao.it).

Pubblicato su Cineocchio

Regia: Norman Jewison
Sceneggiatura: John Patrick Shanley
Cast: Cher, Nicolas Cage, Vincent Gardenia, Olympia Dukakis, Danny Aiello, Julie Bovasso, Feodor Chaliapin Jr., Nada Despotovich, Anita Gillette, John Mahoney
Paese: USA (1987)
Genere: Commedia
Durata: 102’
Uscita Italia: 11 Marzo 1988
Uscita USA: 16 Dicembre 1987
Trama:
Una vedova italo-americana accetta di sposare un goffo corteggiatore (oppresso da una madre siciliana che non si decide a morire), ma a pochi giorni dal matrimonio s’innamora del fratello minore di lui.
Note:
Cher divenne famosa negli anni Sessanta come cantante (e personaggio) trasgressiva e anticonformista. Vent’anni dopo si ricicla sul grande schermo dando prova di notevoli qualità. Tra i suoi film migliori ricordiamo, oltre questo Stregata dalla Luna, Jimmy Dean, Jimmy Dean (1982) di R. Altman, Silkwood (1983) di M. Nichols accanto a Meryl Streep, Dietro la maschera (1985) di P. Bogdanovich (ruolo con cui vince il premio come migliore attrice a Cannes), Le streghe di Eastwick (1987) di G. Miller accanto a Jack Nicholson, Suspect (1987) di P. Yates, I Protagonisti (1992) di R. Altman.