Pat Cerasaro - Page 190

This week saw the premieres of not one, but two of the biggest entertainment extravaganzas currently on show in the vast TV landscape, both on Fox - the season two debut of the reinvented reboot of the reality singing competition show THE X FACTOR (with Britney Spears and Demi Lovato as new judges), as well as the season four premiere of the returning, albeit re-jiggered, half-NYC-set GLEE (with a memorable Kate Hudson, and, also, Sarah Jessica Parker joining next week). While one may have been more successful than the other in pulling off its grand switcheroo (especially insofar as overall transitional smoothness, THE X FACTOR really seems to be finding its voice, pardon the puns), the sheer enjoyment levels achieved by each was enough to make both recommendable and worthy of review given their intrinsic ties to the performing arts realm and their exploration, exhibition and employment of the titular x factor. Individuals with that oh-so-unmistakable allure were on ample display both on THE X FACTOR and GLEE, making both properties once again worth revisiting each week this year, like last year - look no further than jaw-dropping X FACTOR audition of Carly Rose Sonenclar for clear-cut proof of that. Plus, next week, THE X FACTOR and GLEE shall share a similar theme when GLEE gets 1,2,3 (or, more to the point: 5,6,7,8) with a second Britney Spears tribute, "Britney 2.0"

Today we are talking to a terrifically talented stage and screen performer who has appeared in dozens of film, TV and stage projects over the course of his forty-year career, the thoughtful and charming Treat Williams. In this all-encompassing conversation, Williams and I discuss the many stages of his career thus far, from his early roots co-starring alongside the likes of John Travolta and Marilu Henner in GREASE and OVER HERE! on Broadway in the 1970s, to leading the film adaptation of Terrence McNally's THE RITZ to headlining Milos Foreman's stirring film version of HAIR to starring in handful of other iconic films from his heydey at the top of the Hollywood heap - Steven Spielberg's 1941, Sergio Leone's ONCE UPON A TIME IN AMERICA and Sidney Lumet's PRINCE OF THE CITY included - and even working with Woody Allen on the caustic HOLLYWOOD ENDING. In addition to sharing candid and observant behind-the-scenes stories from the sets of those landmark properties, Williams also reveals his role in the STAR WARS sequel THE EMPIRE STRIKES BACK and reflects on his brief time in London with Carrie Fisher, George Lucas and company. Plus, Williams shares his recollections of working with many of his most memorable theatrical collaborators, with some especially intriguing anecdotes surrounding his time spent playing Buddy in the 2001 Roundabout revival of Stephen Sondheim & James Goldman's FOLLIES - with some tales involving the man behind the musical, as well as the ghost of David Belasco - and his insights into his work with David Mamet on OLEANNA, BOBBY GOULD IN HELL, TEXAN and others. As if all of that were not enough - most pertinent of all - Williams gives us the 411 on his season-long arc on USA's hit nighttime drama WHITE COLLAR and imparts his enthusiasm for working with similarly multi-talented many-format star Matt Bomer and the rest of cast and crew while also revealing some details on where his dastardly character is headed in tonight's episode and all the way into 2013 when the show picks up after the hiatus coming up. Also, Williams sheds some light on his spate of upcoming projects. All of that and much, much more!

In the opening song on Barbra Streisand's stunning new album, RELEASE ME (produced by Streisand and Jay Landers)- a career-spanning collection of rarities and recordings that have been heretofore hidden away in vast vaults and rarely even referenced, let alone ever heard - she powerfully imparts a lyric from the Betty Comden/Adolph Green/Jule Styne score of the Arthur Laurents-directed Tony Award-winning Best Musical of 1968, HALLELUJAH, BABY!, also acting as an oh-so-apt autobiographical summation: 'I'll be the best or nothing at all.' Indeed, so goes the legacy of Barbra Streisand - the voice of a generation; the greatest living recording artist, bar (or, if you prefer, Bar) none; who, now, today, is in the final stages of preparation before embarking on her new tour in conjunction with the release of this new album, directed by longtime creative collaborator and co-director, Richard Jay-Alexander with musical director and conductor William Ross.

Early Saturday morning, legendary lyricist Hal David passed away at the age of 91, so today we will be celebrating his life by partaking in some of the most memorable and entertaining moments from his starry, sixty-year career as captured on the internet.

A gay gallimaufry, Ryan Murphy and Ali Adler's new NBC half-hour comedy THE NEW NORMAL more than merely delivers on the premise of a meta-MODERN FAMILY complete with all the requisite Murphy touches - and much, much more. After all, Murphy is the man behind POPULAR and GLEE, two of the most genre-bending and outrageous TV comedies of the 21st century (in addition to the just 17-time nominated new FX horror series AMERICAN HORROR STORY), so THE NEW NORMAL provides him with a mainstream, mainstage, network series in which he can explore the lighter side of life while also imparting a serious, progressive and all-too-apropos message along the way: A family is a family is a family. Gay, straight or otherwise, a family is founded upon love and only love as its basis and the overriding theme of the series is exactly that. While this all may sound a bit ooey gooey and pat, it is anything but in its style, presentation and attitude.

Today we are focusing a super-special spotlight on one of the Fall's most intriguing musical entries trying out in New York, the York Theatre Company's lab mounting of the new Paul Jabara jukebox musical LAST DANCE, by talking to the show's lead, recognizable TV and film star Rob Morrow, and the show's lead producer, noted comedic shepherd and filmmaker Robert D. Wachs, whom filled me in on all aspects of the show in a comprehensive chat late last week just prior to this week's start of rehearsals. In this all-encompassing conversation, Morrow, Wachs and I discuss the genesis of the new disco-themed musical celebrating the life and career of Jabara, the accomplished Emmy, Grammy and Academy Award-winning composer of Broadway shows (RACHAEL LILY ROSENBLOOM… AND DON'T YOU EVER FORGET IT), movie songs ("Last Dance" from THANK GOD IT'S FRIDAY; the titular "The Main Event") and numerous pop/rock/disco hits, such as "It's Raining Men" by The Weather Girls, Barbra Streisand and Donna Summer's epic disco duet "Enough Is Enough (No More Tears)" and his many solo hits, as well as the finer points of the story, concept, casting and the ultimate goals of the new Philip William McKinley-directed production, which features a book by Shaun McKenna. Additionally, Morrow and Wachs each generously share showbiz tales from their storied careers involving such big names as Eddie Murphy, Michael Bennett, Jonathan Larson, Tony Scott and many more and both copiously convey their infectious enthusiasm for the forthcoming fully-produced lab presentation of the new musical that will play for five performances beginning September 20 as they prepare for its first viewing before a paying audience. All of that and much, much more awaits!

Today we are talking to a Tony Award-winning star known for her many impressive appearances on Broadway in JELLY'S LAST JAM, PLAY ON!, THE WILD PARTY and her tremendous title turn in the towering CAROLINE, OR CHANGE - the one and only Tonya Pinkins. Opening up about her career and many of her most memorable roles, Pinkins lets us in to her world and shares experiences of working with some of the most noted names in theatre - George C. Wolfe, Harold Prince, August Wilson, Stephen Sondheim, Lloyd Richards, Daniel Sullivan, David Esbjornson and many more among them - on everything from MERRILY WE ROLL ALONG, her Broadway debut, to her many musical roles to August Wilson's THE PIANO LESSON and RADIO GOLF all the way to last season's Shakespeare In The Park double-header of THE MERRY WIVES OF WINDSOR and MEASURE FOR MEASURE. Most importantly, Pinkins fills us in on all the details about her upcoming Ethel Waters tribute at 54 Below and what we can expect from one of musical theatre's most dynamic divas taking on the song catalog of an entertainment pioneer in this New York premiere of the in-development new musical solo spotlight showcase. Additionally, Pinkins shares some candid reminiscences about some of her most fondly remembered film and television roles - such as ABOVE THE RIM, BEAT STREET, ROMANCE & CIGARETTES, ENCHANTED and others - as well as offers her thoughts on the ever-changing world of soaps, having appeared in major roles on both AS THE WORLD TURNS and ALL MY CHILDREN. All of that, comments on her two upcoming feature films - HOME and NEWLYWEEDS - and much, much more!

Today we are talking to a spectacularly talented stage and screen star who has appeared in countless film and TV properties over the years as well as in many remarkable theatrical productions all about her major role on the USA special miniseries event POLITICAL ANIMALS, which concludes this Sunday at 9 PM - Carla Gugino. In her many film roles - including SON IN LAW, MICHAEL, SNAKE EYES, the SPY KIDS trilogy, SIN CITY, NIGHT AT THE MUSEUM, WATCHMEN, SUCKER PUNCH, MR. POPPER'S PENGUINS and NEW YEAR'S EVE, to name but a few - as well as in her string of stage successes - Arthur Miller's AFTER THE FALL, Tennessee Williams's SUDDENLY, LAST SUMMER, Eugene O'Neill's DESIRE UNDER THE ELMS, and, most recently, treading the boards with Rosemary Harris and Jim Dale in THE ROAD TO MECCA - Gugino has displayed a considerable commitment to her craft and a striking sensitivity for the medium she is inhabiting.

Slipping and sliding back into Fathom-equipped movie theaters nationwide for an encore engagement on August 22 in honor of its sixtieth anniversary, the iconic and legendary 1952 movie musical masterpiece SINGIN' IN THE RAIN makes its grand return to the silver screen in a brand new HD remastering that any movie musical fan, film fanatic or Broadway baby will definitely want to experience first hand - especially on the very night before Gene Kelly's 100th birthday. A special event presented by Turner Classic Movies - also featuring an exclusive behind-the-scenes documentary hosted by Robert Osborne and spotlighting original film star Debbie Reynolds - this Wednesday's encore showing of SINGIN' IN THE RAIN is one more enduring entry in a continuing series of classic releases shown in HD for the first time in Fathom-equipped movie theaters across the country - past highlighted films have included SCARFACE, WEST SIDE STORY, THE SOUND OF MUSIC, CASABLANCA and many more. So, in celebration of SINGIN' IN THE RAIN splashing its way back to the silver screen one more time, today we are going to take a look back at some of the most well-known and best-loved scenes from the film - boasting a star-studded cast led by Gene Kelly, Donald O'Conner and Debbie Reynolds; directed by Kelly and Stanley Donen, with songs by Nacio Herb Brown and movie musical magnate Arthur Freed - as well as partake in the many famous and infamous homages paying tribute to the rightly well-regarded movie musical gem over the years since its release. Gene Kelly to Gwyneth Paltrow to Kurt Browning to Usher; GLEE to THE MUPPET SHOW to FAMILY GUY; A CLOCKWORK ORANGE to FAME to SPAMALOT and far, far beyond; this retrospective look at one of the most important and influential - and just plain fun - American movie musicals ever produced certainly has it all; and then some! Ain't it great to stay up late (again)?

Today we are shining a special solo spotlight on one of the most revered actors of the stage and screen on the premiere of his newest feature film lead role, in ROBOT & FRANK - which recently received the Alfred P. Sloan Prize at the Sundance Film Festival - the incomparable Frank Langella.

Today we are talking to one of the most alluring and anomalous recording stars on the rise all about this week's US release of her sophomore album, BOYS DON'T CRY, a tribute to male songwriters of the 1970s - the ethereal Rumer. Discussing many aspects of this new release, as well as her previous studio work - such as her Burt Bacharach Christmas EP - Rumer sheds some light on what makes her such an arresting and intriguing performer to follow for the enthusiasts of intimate, revealing, performance-based artists around the world, as she herself reveals the early influences - Judy Garland, Barbra Streisand and Karen Carpenter most of all - that have shaped the unmistakable sound she continues to perfect on this moody, subdued and intoxicating new cover album. Plus, Rumer offers forth candid recollections of participating in recent gala concert presentations - none the least of which would be her superb "A House Is Not A Home" on the PBS Burt Bacharach edition of IN PERFORMANCE AT THE WHITE HOUSE - as well as recounts her own favorite performances, performers and albums and what she plans for the future; another new album is already in the ether! Additionally, Rumer also shares her thoughts on GLEE, provides amusing anecdotes about famous friends like Darryl Hall and Duffy, compares the recording industry now to the era BOYS DON'T CRY pays tribute to, recalls reactions to her dynamic new covers of these rare pop gems - all of that as well as much, much more!

Today we are talking to a multi-talented performer who has performed on Broadway in everything from BROOKLYN to WICKED who made her most recent Broadway bows standing by in both ON A CLEAR DAY YOU CAN SEE FOREVER and PRISCILLA, QUEEN OF THE DESERT - the dynamic and compelling Julie Reiber. Talking all about her new solo album, LOVE TRAVELS, and its various inspirations as well as casting a look back at her many Broadway, touring and regional roles thus far in her eclectic career - ALL SHOOK UP, SWEENEY TODD and many more included - Reiber and I attempt to illustrate her unique place on Broadway and what she would like to pursue in the future, both on the stage and in the recording studio. Additionally, Reiber opens up about her exhaustive song selection process for LOVE TRAVELS and shares candid stories of the recording process of her solo debut, including providing some background on the songs that did not make the cut, how the sterling arrangements arose out of the material and the process of becoming a singer-songwriter in her own right over the project's three-year-long creation. Also, Reiber outlines her experiences performing in the out-of-town tryout of the new musical adaptation of Armistead Maupin's TALES OF THE CITY penned by rock super group Scissor Sisters and expresses her desire to continue with future iterations of the 70s-set Broadway-bound tuner as she looks ahead to her new roles of recording artist, and, also, she is happy to announce, mother. Plus, Julie offers details on her role in the heretofore little-known Meat Loaf-inspired movie musical ECLIPSE OF THE HEART (hopefully released some red moon soon), expresses her thoughts on GLEE and SMASH, compared Broadway now versus a decade ago - and much, much more!

According to a family spokesperson, composer Marvin Hamlisch passed away Monday evening at 68 years old following a brief illness. Here's an interview with the legendary man from 2010.

With this week's news of the passing of American literary and political icon Gore Vidal at the advanced age of 86, now seems a particularly apt time to look back at a truly anomalous career and some of the highlights of a life lived on pages, stages, planes, trains and many of the most exclusive locales in the world.