Smash: "The Producers"

One might also read that blogpost title as a command, "Smash the producers!" Go ahead. I won't stop you.

Tonight I am deeply in envy of my friend Glenn who took over Smash review duties over a week ago while I was in Nashville and lucked upon the best episode of the season "Opening Night". That episode was so good I even liked Karen Cartwright in it! *gasp*

But beware the fall when you reach a peak! Last week was too good to be true and this week's episode proves that Smash won't really be missed when it's finally put down despite its intermittent and blessedly unique high points. Last season's "hate watching," so widely reported because musicals are favored targets of scorn, seems to have turned into "hate-to-watch" since the ratings fall each week. Did you see Theresa Rebeck's e-mail to Buzzfeed? For all of the problematic agenda and ego that might have prompted her very late reply to their infamous Behind the Scenes expose on the troubled Season 1 show, she may well have a talking-about-herself-in-the-third-person point here:

If in fact Theresa Rebeck was the problem with Smash and the trainwreck it became, wouldn't things have gotten better rather than drastically worse - once she left?

Yeah, yeah, I'm avoiding talking about this episode.

A lot of screaming. Which is what I do whenever the show focuses on "Hit List"

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Tony Award Nominations

Another year, another set of Tony nominations. I was surprised to note how many theatrical experiences we covered this year here at The Film Experience. As a proudly NYC based site, we have to get our theater on even if the focus is the movies. But hey, a little television and theater coverage mixed in with a whole lot of movies and Oscar gives us a fuller more rounded persona as a blog, don’t you think? I wasn’t able to watch the actual announcement this morning but my darling Sutton Foster – who is between seasons (hopefully) of the ever-more interesting Bunheads on ABC Family – announced them despite a couple of seasons off the boards now. You know I highly recommend a TV show when I’m okay with it usurping all of a beloved stage star’s time.

In some ways the Tonys are more equivalent to the Golden Globes than the Oscar in that they divvy things up between Plays and Musicals. That doesn’t quite equate to the Globes Drama vs Musical since the theatrical community often respects and embraces comedy in a way that the movie community won’t, but it’s close. So the marquee contests are BEST PLAY and BEST MUSICAL. And these are your nominees…

Best Play

• The Assembled Parties (Richard Greenberg)
• Lucky Guy (Nora Ephron)
• The Testament of Mary (Colm Tóibín)
• Vanya and Sonia and Masha and Spike (Christopher Durang)

Best Musical

• Bring It On: The Musical
• A Christmas Story, The Musical
• Kinky Boots
• Matilda The Musical

But before we list all of the nominees I want to demonstrate visually, after the jump, why I find the Tony nominating system so problematic in comparison to the other awards shows.

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Stage Door: "Trip to Bountiful"

Dancin’ Dan here. The Tony Nominations come out tomorrow and Nathaniel will be discussing them along with a couple new plays he's seen. He has yet to see this one, though.

I have been a lifelong lover of live theater. As much as I love movies, nothing beats the experience of seeing a play or musical live on stage. Even at its worst, there is still an intangible quality to watching a story unfold right in front of you at the same time you are watching. At its best, though, that turns into something transcendent – there is something about watching a person really live a moment while you watch that is indescribable. In the new Broadway revival of Horton Foote’s The Trip to Bountiful with Cicely Tyson and Vanessa Williams (and Cuba Gooding, Jr.), there were two moments when the power of live theater asserted itself so strongly that I wept.

The first moment is by far the broadest in Tyson’s wonderful, Tony-worthy performance. Having almost reached her childhood home of Bountiful, TX, Tyson’s Carrie Watts finds herself in a bus station with a young friend she made on the bus (a lovely Condola Rashad). First, she breaks out into the hymn “Blessed Assurance”, clapping and swaying like a revival preacher. Then, only a couple of minutes later, she drags Rashad through the dance she remembers doing at the first social dance she went to, which just so happened to be in the very town in which they find themselves. It isn’t merely the sight of the eighty-something Tyson singing and dancing up a storm that moved me, but the transfer of energy between audience and performer that can only take place during a live performance. As Tyson went on, the audience was right alongside her, clapping along and willing her into a bigger, more energetic display. Tyson was all too happy to oblige, alight with a glow from within, sending the audience’s energy right back out to them, earning every bit of the ovation she received. It was truly a sight to behold. [more...]

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A Voyage to the Link

Retronaut Amazingly sexist rejection letter from Walt Disney to an aspiring female artist
Technicolor Disney has reference photos for animation mashed-up with final art. Cool 
LA Times AMPAS may expand past 6,000 members this year. They're talking about diversifying and may relax their membership cap
Cinema Blend 80s/90s hitmaker Adrian Lyne (Fatal Attraction) to return after a long absence for another sexual thriller, this one about an open marriage and a trail of bodies. Expect big stars to headline as the troubled couple.
Out Soderbergh interviewing Soderbergh? The director's gay brother talks to him about Behind the Candelabra. (Someone remind me why this isn't opening in movie theaters again?)

Empire Ryan Reynolds for Tarsem Singh's Selfless? This only leads to one logical question...
My New Plaid Pants what kind of revealing costumes will Tarsem put him in? 
Variety Jane Fonda about to get the immortalizing hand-in-cement treatment
Playbill the revival of Cabaret on Broadway already has Alan Cumming returning as the emcee but they're obviously looking for a starry Sally. Initial rumors said Anne Hathaway but now Emma Stone is the rumor
Slate "the secret autobiography of Tom Cruise" ...what's behind the grinning mask?
Guardian Pedro Almodóvar calls I'm So Excited his "gayest film ever". Hmmm. It's also supposed to be some sort of metaphor for Spain's economic crisis.

one more thing...
I was just bitching about Into the Woods but the idea of a new movie musical version of Guys & Dolls sounds great. Especially since the original film version isn't exactly a "classic" outside of being, well, old. It's especially good news if both Joseph Gordon-Levitt and Channing Tatum really are on board. But if it doesn't get a good director I'll worry. A lot. 

off cinema
i09 huge breakthrough in artificial skin. How long until we see Blade Runner style replicants? 
Gothamist last three days to see Edvard Munch's "The Scream" at MoMA. When I was last there I wrote about Tilda Swinton in a box but I neglected to tell you how embarrassed for everyone I was when I went to see The Scream. People were not looking at it but posing beside it with their Scream Face on (which always ended up looking more "Home Alone Face"). some people were so confused about the pose/provenance that they were doing Monkey See, Monkey Do. TRAGIC!  

Watching "Hugo" at MoMA

In the middle of a nearby exhibit about architecture, there's a 3D screen showing pieces of Hugo because of the famous train station set. My bestie snapped a photo of me unawares looking on (above). Some of the scenes they played weren't even set-specific though. Unfortunately this meant that I couldn't even escape Chloe Moretz at MoMA.

Also tragic!

Smash: Surprise Parties & Dress Rehearsals

I promise I'm still watching Smash. Unlike America, that fictionally monolothic "America", which has been fleeing Smash in droves each week; the media has major schadenfreude with this show's ratings with headline's boasting "record lows!" each week. I'm just not as quick with my write-ups. Oddly, as the show is improving and slowly working its way back to Season 1 quality levels my drive to discuss is as wishy washy as all of the show's plotlines.

"All" should not be mistaken for "many" though. There are still but two major plots: "Bombshell" the Marilyn Monroe musical stumbles through endless landmines of the emotional, financial, artistic and public relations variety as it works its way towards opening night whilst "Hit List" the fringe musical about something or other (I've lost track -- it seems to change each week) which doesn't seem to have any obstacles that aren't solved in seconds as it races from one pivotal metamorphosis to another. It was a vague idea a handful of episodes ago, then a fringe success, and now suddenly a buzzy Off Broadway hit that's already threatening to transfer to the Great White Way.

But one thing it doesn't have is a naked Marilyn! more

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