Pat Cerasaro - Page 200

Acing the tailor-made lead role in GLEE creators' Ryan Murphy and Brad Falchuk's new supernaturally-themed FX series AMERICAN HORROR STORY, the former FRIDAY NIGHT LIGHTS star Connie Britton is finding herself at a career peak (look no further than the cover of this week's Entertainment Weekly that just hit newsstands yesterday). Britton's bright beginnings at the Neighborhood Playhouse and study under acclaimed acting instructor Sanford Meisner - as well as her Off-Broadway and stage work - have clearly prepared her well for the tricky ROSEMARY'S BABY-esque role of a lifetime that Murphy, Falchuk and company have devised for her on the star-studded nighttime soap thriller - which also features TV heavyweight Dylan McDermott, as well as two-time Oscar-winner Jessica Lange and Tony-winner (and TRUE BLOOD's King of the Vampires), Denis O'Hare. Discussing all aspects of the first three episodes of the surprise hit horror series, as well as offering some hints as to what we can expect from the forthcoming two-part Halloween special and upcoming episodes (including a Rubber Man tease), Britton and I dissect the complex inter-workings of the Harmon family and the house from Hell that they now reside in - as well as its ghostly inhabitants. Will they somehow make it out alive? And, who exactly is the new ghost in house, revealed just this week, played by previous InDepth InterView participant Lily Rabe? What can we expect from Zachary Quinto's first appearance coming up this week? And, what about The Infatata? As Murphy's original pitch's tagline states, "The House Wins," but, as far as AMERICAN HORROR STORY goes, the actors do, too. In addition to all about AMERICAN HORROR STORY, Britton and I also discuss her passionate dedication to Bono's ONE charity, as well as her participation in supporting the African Children's Choir, who will be performing at a gala raising awareness and funds on Monday at The Highline Ballroom.

In just a few short years since his sensational debut in Lawrence Kasdan's MUMFORD, rising star Jason Ritter has carved out an impressive indie resume - including noted standouts such as THE EDUCATION OF CHARLIE BANKS, HAPPY ENDINGS and GOOD DICK - in addition to a successful TV career - having appeared in featured roles in JOAN OF ARCADIA and THE CLASS before his leading role on THE EVENT last season - but theatre fans are certainly aware of considerable stage skills, as well, having performed in plays for many esteemed directors and premiering works by the likes of Neil LaBute and Wendy Wasserstein. While there has been the occasional big budget vehicle, too - SWIMFAN and FREDDY VS. JASON included - it is Ritter's fierce commitment to fine storytelling and intriguing projects that make him truly one to watch. Discussing many aspects of his busy career from THE DREAMER OF OZ opposite his iconic father, John - now available on the WIZARD OF OZ Blu-ray box-set - all the way up to his forthcoming films such as THE PERFECT FAMILY co-starring two previous InDepth InterView participants, Kathleen Turner and Sharon Lawrence, plus THE FIVE STAGES OF GRIEF, FREE SAMPLES, an untilled Mark Webber project, I AM I and his new Disney animated series, GRAVITY FALLS. With an emphasis on his theatre background and insights into the currently running LA Theatreworks presentation of COMPLETENESS, Ritter and I shine some light on a career that, based on what we have already seen from him onstage and onscreen, clearly knows no bounds whatsoever. Some people can do it all and do it all brilliantly and Jason Ritter has clearly proven he is one of those select, special few.

Today we continue our special series consisting of five entries total, each of which highlight a different facet of the rich and wonderful world of William Shakespeare and all with a particular emphasis on the controversial new feature film that explores the time, place, politics and goings-on of the Elizabethan era and focuses on the possibility that the true author of the esteemed plays we now know may very well have been someone else entirely - Edward de Vere - and how the question of the canon's true creation then comes into play - ANONYMOUS. "All the world's a stage," after all, so it should come as no surprise that acts of lust, bloodshed and betrayal would exist in the actual life - or even the supposed one - of the man who created the most bloody and thought-provoking tragedies in the history of literature - whoever he may have actually been. Perhaps some brief analysis of the finest leading players, most memorable lines and moments, as well as an exploration of other notable acts of grand betrayal in Shakespeare's plays will aid us on the journey to understanding the thesis of ANONYMOUS and bring us into a closer relationship with the individual who penned the greatest plays in the English language. Now that we have already analyzed the top ten male and female Shakespearean performers of the last few decades, as well as the most memorable lines and moments, today, in our final installment of the 5 Top 5 countdown, we are focusing on the most surprising and dramatic moments of deception in Shakespeare - including moments from HAMLET, JULIUS CAESER, THE WINTER'S TALE, AS YOU LIKE IT and more!

Today we are turning our attention to one of the biggest and brightest rising stars in classical music whose seriously awesome piano prowess will be in full view this weekend in two special showings on October 22 and 24 when Fathom presents his solo debut, broadcast internationally in movie theaters - pianist phenomenon Lang Lang performs Lizst's Concerto No. 1 live from Philadelphia on Liszt's 200th birthday. While Lang Lang has taken the classical music scene by storm at only 29, this event will provide the opportunity for an even larger international audience to fall under the spell of his emotional, sensitive and powerful piano concert skills, with the advantage of witnessing Lang perform with the additional symphonic support of the Philadelphia Orchestra under the baton of Charles Dutoit - an orchestra of special personal meaning to Lang. Raised in China, but studying in Philadelphia for nearly a decade makes this a truly momentous culminating event for Lang Lang's life and career as a man and as an artist and we can certainly bet that the Kimmel Arts Center is the perfect venue for such an aural feast for the senses featuring some of Liszt's most famous and beloved compositions. Performances of Liszt's Concerto No. 1 and Liberstraum No. 3 seem to be forgone conclusions, yet what else from the expressive catalogue of Liszt's work shall Lang perchance sample? The Hungarian Waltz No. 2, perhaps? La Campanella? What else? Be there tomorrow to find out for once and all!

Today we continue our special series consisting of five entries total, each of which highlight a different facet of the rich and wonderful world of William Shakespeare and all with a particular emphasis on the controversial new feature film that explores the time, place, politics and goings-on of the Elizabethan era and focuses on the possibility that the true author of the esteemed plays we now know may very well have been someone else entirely - Edward de Vere - and how the question of the canon's true creation then comes into play - ANONYMOUS. "All the world's a stage," after all, so it should come as no surprise that acts of lust, bloodshed and betrayal would exist in the actual life - or even the supposed one - of the man who created the most bloody and thought-provoking tragedies in the history of literature - whoever he may have actually been. Perhaps some brief analysis of the finest leading players, most memorable lines and moments, as well as an exploration of other notable acts of grand betrayal in Shakespeare's plays will aid us on the journey to understanding the thesis of ANONYMOUS and bring us into a closer relationship with the individual who penned the greatest plays in the English language. Now that we have already analyzed the top ten male and female Shakespearean performers of the last few decades, as well as the most memorable lines, today we are going to take a look at some of the most famous scenes and noted moments from Shakespeare's plays - by both laymen and scholars - and some of the best audiovisual examples of these in their dramatic context - including clips from MACBETH, THE WINTER'S TALE, THE MERCHANT OF VENICE, KING LEAR and more!

Today we continue our special series consisting of five entries total, each of which highlight a different facet of the rich and wonderful world of William Shakespeare and all with a particular emphasis on the controversial new feature film that explores the time, place, politics and goings-on of the Elizabethan era and focuses on the possibility that the true author of the esteemed plays we now know may very well have been someone else entirely - Edward de Vere - and how the question of the canon's true creation then comes into play - ANONYMOUS. "All the world's a stage," after all, so it should come as no surprise that acts of lust, bloodshed and betrayal would exist in the actual life - or even the supposed one - of the man who created the most bloody and thought-provoking tragedies in the history of literature - whoever he may have actually been. Perhaps some brief analysis of the finest leading players, most memorable lines and moments, as well as an exploration of other notable acts of grand betrayal in Shakespeare's plays will aid us on the journey to understanding the thesis of ANONYMOUS and bring us into a closer relationship with the individual who penned the greatest plays in the English language. Since we have now analyzed the top ten male and female Shakespearean performers of the last few decades, today we are going to take a look at some of the most famous lines from Shakespeare's plays and some of the best audiovisual examples of them given full weight in their dramatic context - ROMEO & JULIET, AS YOU LIKE IT, RICHARD III included - with leading players as iconic as Marlon Brando, Kevin Kline, Sir Ian McKellen, Kenneth Branagh and Leonardo Dicaprio!

Today we continue our special series consisting of five entries total, each of which highlight a different facet of the rich and wonderful world of William Shakespeare and all with a particular emphasis on the controversial new feature film that explores the time, place, politics and goings-on of the Elizabethan era and focuses on the possibility that the true author of the esteemed plays we now know may very well have been someone else entirely - Edward de Vere - and how the question of the canon's true creation then comes into play - ANONYMOUS. "All the world's a stage," after all, so it should come as no surprise that acts of lust, bloodshed and betrayal would exist in the actual life - or even the supposed one - of the man who created the most bloody and thought-provoking tragedies in the history of literature - whoever he may have actually been. Perhaps some brief analysis of the finest leading players, most memorable lines and moments, as well as an exploration of other notable acts of grand betrayal in Shakespeare's plays will aid us on the journey to understanding the thesis of ANONYMOUS and bring us into a closer relationship with the individual who penned the greatest plays in the English language. Picking up where we left off, now, with the second entry in the five days of Top 5s, here is a look at the best leading ladies to have done Shakespeare onstage and onscreen this century and last - featuring Judi Dench, Meryl Streep, Jessica Lange, Helen Mirren, and, an ANONYMOUS star herself, Vanessa Redgrave!

Today we begin a special series consisting of five entries total, each of which will highlight a different facet of the rich and wonderful world of William Shakespeare and all with a particular emphasis on the controversial new feature film that explores the time, place, politics and goings-on of the Elizabethan era and focuses on the possibility that the true author of the esteemed plays we now know may very well have been someone else entirely - Edward de Vere - and how the question of the canon's true creation then comes into play - ANONYMOUS. "All the world's a stage," after all, so it should come as no surprise that acts of lust, bloodshed and betrayal would exist in the actual life - or even the supposed one - of the man who created the most bloody and thought-provoking tragedies in the history of literature - whoever he may have actually been. Perhaps some brief analysis of the finest leading players, most memorable lines and moments, as well as an exploration of other notable acts of grand betrayal in Shakespeare's plays will aid us on the journey to understanding the thesis of ANONYMOUS and bring us into a closer relationship with the individual who penned the greatest plays in the English language. Kicking off the five days of Top 5s, here is a look at the best leading men to have done Shakespeare onstage and onscreen this century and last - featuring Kenneth Branagh, Ian McKellen, Al Pacino, James Earl Jones, and, the ANONYMOUS narrator (and a confirmed Oxfordian himself), Sir Derek Jacobi!

Earlier today, prior to his appearance at Comic Con, I had the pleasure of speaking to WALKING DEAD lead actor Jon Bernthal all about his theatre background and his Ovation Award-nominated performance in SMALL ENGINE REPAIR, and, also, his critically praised work on the monster AMC hit series THE WALKING DEAD, which makes its grand return tomorrow night for the launch of its hotly-anticipated second season. I am also happy to share that I was just lucky enough to view the episode myself and I can tell you that it has certainly been worth the wait since THE WALKING DEAD was last seen on TV last year - although the pay-off certainly won't pay off completely until next week given the grisly occurrences in the premiere (and the mind-blowing cliffhanger)! Discussing all aspects of his WALKING DEAD character and what we can expect from tomorrow night's zombie apocalypse shocker - as well as the rest of Season Two - Bernthal and I shed some light on the production of the second season of the hit show so far and how the series will now fare without former show-runner Frank Darabont at the helm. Most importantly, Bernthal shares his deep understanding and passion for theatre and his devotion to his craft - musing on Brecht, Shakespeare and more - as we trace his career trajectory onstage and onscreen from his founding of the Fovea Floods theatre company and the film version of the hit Off-Broadway interactive play TONY N' TINA'S WEDDING in the early 1990s all the way up to HBO'S THE PACIFIC and Roman Polanski's THE GHOST WRITER more recently. Bernthal is also kind enough to share with us what we can look forward to coming up in the near future: RAMPARTS, co-starring fellow InDepth InterView participant Steve Buscemi! Plus, his comments on previous castmates Jason Ritter, Andrea Anders and more!

Today we are featuring the luminescent and golden-voiced Melissa Errico and talking to her all about her sumptuous new album LEGRAND AFFAIR - featuring the music of famed Broadway and Hollywood composer Michel Legrand - and how the labor of love five years in the making has finally come to light with this week's highly-anticipated release of the romantic and moving album. In addition to analyzing the process of putting the project together alongside the legendary Legrand, Errico also shares her thoughtful and passionate insights into the many different worlds inherent in the evocative songs themselves - many with lyrics by Barbra Streisand's constant collaborators, Alan and Marilyn Bergman - and how closely Errico worked with album producers Phil Ramone and Richard Jay-Alexander on perfecting the sound, style, mood and final song list of LEGRAND AFFAIR. Additionally, Errico and I also travel back in time and touch upon her many notable stage appearances over the years - including illustrative comments on her Broadway debut in MY FAIR LADY, as well as starring in HIGH SOCIETY, FINIAN'S RAINBOW, DRACULA, Legrand's own AMOUR, and, most recently, WHITE CHRISTMAS - and she also shares her excitement for the upcoming tenth anniversary reunion concert of SUNDAY IN THE PARK WITH GEORGE at the Kennedy Center in 2012, co-starring Raul Esparza. Plus, news on her forthcoming appearance on Patrick Wilson's A GIFTED MAN on CBS and all the details on her charity organization, Bowery Babes, as well as much, much more!

Bright, sunny, clarion-voiced leading lady Liz Callaway is not only known for her roles in the Broadway productions of MERRILY WE ROLL ALONG, BABY, CATS, MISS SAIGON and THE LOOK OF LOVE, but also for her string of highly-successful studio albums - among them, the sensational 60s ode THE BEAT GOES ON and the musical theatre-centric THE STORY GOES ON, in addition to last year's superlative PASSAGE OF TIME - and, she is also well-loved for stunning live stage double-bills with her sister, Ann Hampton Callaway - represented on record by SIBLING RIVALRY and, now, the new live album and show all about baby boomers and their sensational music, titled BOOM! In this all-encompassing conversation, Callaway and I parse her predilection for certain composers - Burt Bacharach, Jimmy Webb, Stephen Sondheim and many more included - as well as her memories of working with some of the most important musical theatre creators of the twentieth century over the course of her thirty-year career, such as legendary director Hal Prince and Sondheim himself on projects diverse as MERRILY WE ROLL ALONG, A STEPHEN SONDHEIM EVENING and FOLLIES: IN CONCERT. Plus, we also talk about Callaway's various musical influences, her childhood, her first Broadway show and first Broadway onstage experience, revisiting MERRILY twenty years later with the entire original cast, live versus studio performing, as well as what's coming up next for her in the coming months and new year - including the Christmas stage spectacular, YULETIDE - and more!

Today we are talking to one of the world's foremost cabaret artists and jazz vocalists - also known for her famous rapport with sibling and fellow Broadway baby Liz Callaway - who has written and recorded hundreds of songs over her thirty-year career - including 'I've Dreamed Of You' for Barbra Streisand's A LOVE LIKE OURS, among many others - but, perhaps she is most famous for the unforgettable theme from the highly syndicated hit 90s sitcom THE NANNY starring Fran Drescher - the one and only Ann Hampton Callaway! Discussing all aspects of her brand new album and duets show with sister Liz - titled after the music of their youth; so, being baby boomers growing up with the music of the 1960s and 1970, the oh-so-apropos title is BOOM! Covering Cole Porter to Rosemary Clooney to Ella Fitzgerald, Carly Simon, Stephen Sondheim and Laura Nyro, Callaway and I dissect many facets of songwriting, singing, performing and the nature of live versus studio recording, memories of starring in the musical revue SWING! on Broadway, and, she also reveals her own fondest recollections of working with her sister and many of her most fascinating collaborators over the years. Plus, we have first news of her new Streisand-based symphony show coming up in 2012, as well as the new Christmas show she is starring in with Liz later this year, YULETIDE, as well as her thoughts on filming THE GOOD SHEPARD and soundtrack scoring, as well as her opinions on GLEE, AMERICAN IDOL and much, much more!

Today, in an extension of the FLASH FRIDAY column, we are sharpening our focus on the six upcoming revivals of musicals that are soon to hit the boards in the next few months (post-FOLLIES) and battle it out for the Best Revival as the Broadway season heats up just when the weather begins to cool: the classic Jule Styne/Bob Merrill musical that originally starred that star-of-stars, Barbra Streisand - FUNNY GIRL; the groundbreaking rock opera that rewrote the theatrical rulebook thanks to young creators Andrew Lloyd Webber and Tim Rice - JESUS CHRIST SUPERSTAR; the hippie, flower child take on the Christ story covering some similar Biblical ground to that of SUPERSTAR, with this one being the composing debut of WICKED songwriter Stephen Schwartz - GODSPELL; another Andrew Lloyd Webber/Tim Rice collaboration that won seven Tony Awards and acted as the vehicle for Patti LuPone's blazing Broadway debut in a starring role - EVITA; the significantly reworked, revised and rewritten new version of the beautifully scored time-travel musical by Burton Lane and Alan Jay Lerner, this time starring a male movie star crooner - ON A CLEAR DAY YOU CAN SEE FOREVER; and, the landmark American opera composed by the Gershwins with DuBose Haywerd - PORGY & BESS. While each and every one of these entities has a huge hit song or two that nearly everyone on the planet knows by heart - "Don't Rain On My Parade", "I Don't Know How To Love Him", "Day By Day", "Don't Cry For Me Argentina", "On A Clear Day…" and 'Summertime' included - each of these revivals also comes after a film version (or two) that, in more than a few of these cases, will be relatively difficult to top as far as expectations of many audience members undoubtedly will go. So, by taking a listen to the smash hit crossover songs from these musicals as well as looking at their respective film version's trailers - as well as a couple of surprises, too - perhaps we can glean some insight into what makes these generally pretty terrific properties so well worth reviving on Broadway, here, now, today, in 2011. Furthermore, all of this crystal ball commentary is not even taking into account the starry assortment of performers that have already been announced for these productions so far - especially with FUNNY GIRL's Lauren Ambrose and Bobby Cannavale, GODSPELL's Hunter Parrish, SUPERSTAR's lauded Josh Young, EVITA's Ricky Martin and Michael Cerveris, PORGY's Norm Lewis and Audra McDonald, as well as the leading man in what was once a leading lady's role (that of Barbara Harris) in ON A CLEAR DAY YOU CAN SEE FOREVER, Harry Connick, Jr.! What a tight race it is turning out to be for these new productions, particularly come Tony time in June! With rock to rhumba and borscht belt comedy to messianic hosannas and even full-out opera, seemingly every conceivable customer base is more than covered by this packed, potentially, well, awesome, season of shows - and many Broadway babies around BroadwayWorld are undoubtedly looking most forward to these six forthcoming revivals - with particularly good reason given the relative dearth of new musicals announced so far. So, let these revivals revive your flagging spirits as we leap into the 2011-2012 season with this comprehensive prospective and retrospective all about what makes them work so well in the first place and so worthy of another look!

Did William Shakespeare really write all of those plays? Mere proposition of said query's relative validity is more often than not met with confused looks, pretentious stares and general disdain for even entertaining such edgy ideas. Yet, are the plays not too worldly and wordy for a middle-class man to have composed completely by himself - even an actor who owned his own theater, the Globe; as Shakespeare, the man, most certainly did (any way you tell it)? Does it take anything away from these great works to consider for a moment or two that perhaps there was at least some outside influence on the texts to these plays, many of which are often cited as the finest literary works in the English language - and a legitimate theory given the fact co-authorship was even admitted at the time insofar as PERICLES, TIMON OF ATHENS and others are concerned. The case of the authorship of Shakespeare's plays has been a hot-button topic amongst critics, scholars and many in academe for centuries - and it even reached the Supreme Court in 1987 - and it is only now, with the worldwide release of ANONYMOUS, that these issues are being taken on in a dramatically compelling and filmatic way - played out much like the plays of intrigue and betrayal amongst kings and queens that we have come to love so much from Shakespeare's works. At the end of the day - or, should I say, at the end of the play - does it really matter as long as what you have witnessed onstage or onscreen spoke to you in a special, memorable way? Does knowing the identity of the author really matter as long as the plays enacted have an affect? Such are only a few of the many controversial questions being posed by the filmmakers behind the new film ANONYMOUS, opening in movie theaters nationwide on October 28, foremost among them being the director of the film himself, Roland Emmerich and the screenwriter, John Orloff, who have been trying to get this project off the ground for the better part of a decade. Tales of stolen authorial identity are as old and oft-told as many of the Bard's greatest hits, so it should come as no surprise that ANONYMOUS manages to present the facts as entertainingly as the plays presented within it. After all, the battle of the Oxfordians versus the Stratfordians has a certain royal Shakespearean ring to it, does it not?

SOUND OFF: AMERICAN HORROR STORY Makes Hell Heaven Perhaps it should have been billed more appropriately as: Grand Guignol From The Genius Guys Who Gave Us GLEE (& NIP/TUCK, too). Any entity with the pedigree apparent in FX's new drama series AMERICAN HORROR STORY is worth a view or two and last night's premiere episode was nothing short of riveting. An explosive and absolutely terrifying corroboration of creepy historical drama, atmospheric suspense, psycho-sexual character study, semi-snuff, psychological terror, grand guignol and plain old scares, AMERICAN HORROR STORY delivered on all of the mysterious and intriguing previews that have aired for the last several months on FX - from the creator of NIP/TUCK and the co-creators of GLEE, Ryan Murphy and Brad Fulchak, this was a definite opportunity for envelopes, buttons and limits of taste, decency and sheer terror allowable on TV. On that accord, Murphy and Falchuk scored a solid field goal. Insofar as the talent assembled to tell the tale at the heart of the haunted house story - including major TV talent in the leads with Dylan McDermott and Connie Britton, as well as a seriously starry supporting cast including Broadway regulars Denis O'Hare and Jessica Lange. AMERICAN HORROR STORY delivers as a compelling character-based family drama - with the backstory of the central couple being a situation rife with possibilities - and an all-out horror show of THE SHINING proportions - and, the acerbic comedy, camp, one-liners and hot-button-pushing that makes Ryan Murphy television always entertaining is amped up to such a high level as to be far too much to take all in in one mere viewing. Even on the second look I'm not sure I've caught all of the flash-cut secrets and editing tricks employed in the impressively dynamic and complex meta-narrative employed by the various camera and stylistic techniques. If the creepy, cryptic and surprisingly quite comprehensive website is any indication whatsoever of the devilishly detailed tapestry being woven by Murphy, Falchuk and company over the course of the first season then we are certainly in for the decadent danse macabre of the decade - perhaps not since David Lynch's groundbreaking TWIN PEAKS has a TV premiere so completely enraptured and ensnared me in its wicked web of debauchery and depraved devilry. Heck - if this is Hell, throw another coal or two on the flames.

Today we have a super-special DVD and Blu-ray overview as we take a look at and listen to five brand new Blu-rays hitting the shelves in October, including two stunning Blu-ray debuts of two of Quentin Tarantino's seminal 90s films - PULP FICTION and JACKIE BROWN. While Tarantino won his only Oscar to date for his screenwriting work on PULP - a credit he shared with co-storywriter Roger Avery - it is his studied, mature and delicate directorial work on JACKIE BROWN that won over many film fans who may have found a bit too much flash, pop, sizzle and razzmatazz in the packed-to-the-gills PULP. Although, if all the Tarantino tough guy talk and off-the-wall soundtrack selections are not quite your speed, we also have three early Halloween selections sure to send some shivers up your spine, with MANHUNTER, HANNIBAL and the recent remake of THE LAST HOUSE ON THE LEFT. While MANHUNTER was the movie-going public's first glimpse of what became the most beloved movie villain of all-time - the cannibalistic genius himself, Hannibal Lector - it was in a very different, completely different guise: noted stage and screen actor Brian Cox plays the role that eventually was made famous (and Oscar-winning) by Anthony Hopkins in the second film of the Hannibal Lector series, THE SILENCE OF THE LAMBS (by Jonathan Demme), just a few short years after Michael Mann's treatment of the original Thomas Harris novel, RED DRAGON. Of course, RED DRAGON was also made into a movie of the same name recently, directed by Brett Ratner and featuring an all-star cast comprising Philip Seymour Hoffman, Ralph Fiennes, Mary Louise Parker, Ed Norton, Harvey Keitel and many more. While many film fans certainly cite SILENCE as the finest Lector film - and it very well may be - my personal bias is for Ridley Scott's daring and gruesome 1999 hit, HANNIBAL, starring Hopkins alongside Julianne Moore in the role of Clarice Starling (made famous by Jodie Foster, who passed on the ultra-violent script), which is also finally getting the Blu-ray upgrade along with Mann's MANHUNTER. Then, there is the witty and disturbing remaining of one of the most scandalous and prurient torture porn films ever made - created long before that term was ever coined; in the age of Eli Roth and the SAW series - Wes Craven's harrowing horror revenge tale, THE LAST HOUSE ON THE LEFT. Recent PROMISES, PROMISES on Broadway star Tony Goldwyn was a recent InDepth InterView participant and told me about how pleased he was with this remake and while it does not have the seedy voyeuristic bent of the original, it makes an impact in a new and equally entertaining way. Whether checking out one or all of these superb new Blu-ray releases you are assured a memorable movie experience, just as the temperatures begin to cool and you yearn for nights of warmth inside away from the elements.

Last night's GLEE, titled "Asian F" (referring to an A-), was an A+ in almost every respect, managing to pack all the musical power, dramatic pathos, fabulous diva-tude and off-the-wall comedy that made GLEE the international sensation that it is and also push a few buttons over the course of an hour - and make a new star or two of its impossibly talented cast in the process, with that individual walking away - or, should I say, strutting away - with the night undoubtedly being Harry Shum, Jr., thanks in no small part to his premiere solo song sung on the show so far in his two seasons on the show. Indeed, Shum's "Cool" from WEST SIDE STORY was imbued with more choreographic tics and embellishments than even Jerome Robbins could have dreamed up in a week's time to get on film this swiftly and speedily. Besides the ultra-hip-swingin' awesomeness of Shum, last night's GLEE also set in motion a number of plots that will surely be a central focus of this fresh-faced and bold newly focused season - Santana/Brittany's relationship, the new Glee club member arriving next week and Idina Menzel's continuously ingratiating and increasingly impressive arc as Shelby, Rachel (Lea Michele)'s estranged mother, foremost among them. What will next week hold for New Directions? Plus, how did the famous recitative sequence from DREAMGIRLS - "It's All Over" - work outside of the classic r&b musical's context? Did Mercedes (Amber Riley) deliver in true Oscar-winning Effie fashion by taking on Jennifer Hudson's hit single "Spotlight" and making it her own? What about Heather Morris and Beyonce's "Run The World (Girls)"? And, most importantly, which semi-secondary lead stole the whole show? To see the answers to these pressing "Asian F" queries and some explanations of many of the reasons why GLEE continues its sterling winning streak with the third episode of the resoundingly successful Season Three, read on! Merely calling it "cool" doesn't even begin to cover it!

Today we are analyzing all aspects of last night's spectacular special presentation of the 25th anniversary of THE PHANTOM OF THE OPERA live from the Royal Albert Hall. This unprecedented full performance of the world's most successful entertainment staged specifically for this event was simulcast live to hundreds of theaters around the world, with Fathom proving yet again - LES MISERABLES, Sondheim's COMPANY and the Shakespeare's Globe Series, among many others, coming before - that they are the pioneers of perhaps the most exciting Broadway-related entertainment entity of the twenty-first century - live HD filming of theatrical enterprises. Over the course of the three hours of the complete musical as it has been performed on Broadway and the West End and around the world for twenty-five years, as well as a phantastic reception and encore featuring Andrew Lloyd Webber, Michael Crawford, Sarah Brightman, Cameron MackIntosh and four famous Phantoms - Toronto's Colm Wilkinson, the West End's John Owen Jones, Australia's Anthony Warlow and the new incoming West End title player Peter Joback - PHANTOM 25 is the theatre event of the year. Yes, PHANTOM 25 may very well be the most exciting and engrossing live show ever filmed and the presentation was exceedingly superb in technical aspects - and, now, the mind boggles at how utterly brilliant and breathtaking the forthcoming Blu-ray will be based on last night's performance (November in the UK, February in the US). Capturing the comedy in an enjoyable and surprising manner while still containing the menace and horror that gives it a distinct bite in the musical theatre realm (from the original director of SWEENEY TODD, Harold Prince, no less), and, most of all, arousing the most passionate and carnal of emotions in any willing and ready viewer. And so much more. PHANTOM 25 is now the crowning jewel of the show's legacy - the mask on the eponymous master magician and musician's face that somehow manages to make him truly, finally complete.

In honor of this Sunday's once-in-a-lifetime worldwide live movie theater showing of the 25th anniversary celebration of Andrew Lloyd Webber's PHANTOM OF THE OPERA by Fathom - the same company who recently brought us LES MISERABLES, Stephen Sondheim's COMPANY, and Shakespeare's Globe Series, among others - today we are going to take a look at many of the various aspects of the world's most successful entertainment as it swings like a wonton chandelier into cinemas worldwide direct from the Royal Albert Hall for the next two weeks. By going back and revisiting the hallowed origins of the haunting operatic musical - Hal Prince, Michael Crawford and Sarah Brightman included - as well as a look at the various iterations of the show since its inception - such as the 2004 film version, PHANTOM VEGAS and the musical sequel, LOVE NEVER DIES - perhaps we, too, can bring back the music and memories and magical moments of so many years ago - 25 to be exact - with this special spotlight of illumination on all aspects of what makes PHANTOM a sensation, now and forever.

One of the central joys of GLEE for theatre fans is the constant stream of top-tier triple-threat talent on display, oftentimes the very best and brightest stars on Broadway - and the epic return of Idina Menzel on GLEE last night was certainly a cause celebre of the highest order on that accord. While Idina's WICKED co-star Kristin Chenoweth has certainly made more appearances over the seasons - and racked up Emmy and Golden Globe nominations for her splendid work, as well; as recently as in the Season 2 finale and the "Rumours" Fleetwood Mac tribute episode - it is Menzel who has a pivotal role in the story of the show in a way perhaps no other guest star does: she plays Rachel Berry's estranged mother, Shelby. While the physical similarities in the appearance of Menzel and Lea Michele are easy to see (and, in some ways, hear) - although they bare no actual relation - it is in their masterful musical marriage that some of the best moments of GLEE arise and have arisen in the past - many the most heart-breaking and heart-warming among them. "Poker Face" is the gold standard by which every other duet is held up to since Season One and their take on the LES MIZ (and Susan Boyle) classic "I Dreamed A Dream" fulfilled the promise of its title for every Broadway baby - and even Idina's "Funny Girl" left a little footprint on our hearts. Yet, what about these two titanic Broadway leading ladies taking on one of the most well-known and best-loved musical theatre songs of all time - from one of the greatest musicals ever written, no less - "Somewhere" from WEST SIDE STORY? Furthermore, what about Chris Colfer essaying yet another grand dame show-stopping number, this time in the form of FUNNY GIRL'S "I'm The Greatest Star"? And, most of all, how did the hotly anticipated performance by Darren Criss of the WEST SIDE STORY staple "Something's Coming" come off - a song that had its audio world premiere in this very column this weekend - and did it ultimately pan out onscreen on GLEE as stupendously as it sounded it would? To find out all about how last night on GLEE the divas dominated, Criss catapulted to the top of the gleek heap and Colfer channeled Barbra Streisand herself - as well as all the other McKinley High-related drama and overall epic entertainment value that the show offers every week - read on.