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At The “Don’t Look Up” Press Conference, Its A-List Actors Discuss The Comedy of A Planet-Killing Event

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Known for his raft of successful left-leaning satires such as “Vice” and “The Big Short,” Director Adam McKay  once again tries to find the balance between serious social commentary and an acidic attack on the right wing conservative views especially when it relates to global issues. 

In his Oscar-nominated “Don’t Look Up”(now on Netflix)  two low-level astronomers (played by Leonardo DiCaprio and Jennifer Lawrence) attempt to warn mankind via a media tour about an approaching comet that will destroy Earth. As the city-sized object heads to earth, the rightwing American president (Meryl Streep) at first agrees to and then denies the seriousness of its impending impact. This satirical allegory of media, government, and cultural indifference to the crisis of anthropogenic climate change details the chaos that ensues from an Earth-destroying event.

Lawrence became the film’s first cast member with DiCaprio signing on after rewriting McKay’s script. Rob Morgan, Jonah Hill, Mark Rylance, Tyler Perry, Ron Perlman, Timothée Chalamet, Ariana Grande, Scott Mescudi, Himesh Patel, Melanie Lynskey, Cate Blanchett, and Meryl Streep round out the ensemble cast. Grande and Mescudi also collaborated on the song “Just Look Up” as part of the film’s soundtrack.

Filming was to begin in April 2020 around Massachusetts, but was delayed until November due to the ongoing COVID-19 pandemic. The shoot then lasted through February 2021. The result received mixed reviews from critics, who praised the cast but found the 53-year old’s approach heavy-handed. 

Despite those reviews, the movie was named one of the top 10 films of 2021 by the National Board of Review and American Film Institute. It also received four nominations at the 79th Golden Globe Awards, including Best Picture – Musical or Comedy, and six at the 27th Critics’ Choice Awards, including Best Picture.The film won Best Original Screenplay at the 74th Writers Guild of America Awards. It also set a new record for the most viewing hours in a single week on Netflix, and went on to become the second most-watched movie on Netflix within 28 days of release.

When a flurry of activity kicked up over the movie’s release, IEUSA acquired a transcript of an extensive press conference held recently. It included cast members Mescudi, Perry, Hill, Streep, DiCaprio, Lawrence, and its writer/director/producer. 

Moderator/scientist Amy Mainzer (who contributed to the film) tried asking questions but really just managed the verbal jousting between this stellar cast and its creator.

Q: I have had the great pleasure of working with this incredibly talented cast and crew on the movie where, as an astronomer and planetary scientist, I served as the science advisor on the film. 

TP: What a lineup here, man.

Q: Leo, now that Dr. Dibiasky [Jen Lawrence] is over here… Oh, sorry, not quite Dr. Dibiasky. Now that she’s contributed all this to science, we need to get her defense scheduled. When would you like to schedule her defense? The committee needs at least three months to plan [laughs].

LD: I think three months is a proper amount of time.

Q: Okay, great. Will you be ready for your PhD defense?

MS: I just broke out in a sweat.

JL: I was so afraid she was going to look at me and say something. I was like, don’t do it.

TP: They really call it a defense?

Q: Not like Harry Potter Defense Against the Dark Arts, but sort of.

TP: You’re a real astronomer?

MS: She discovered a comet.

Q: It’s not hitting the Earth, though. Don’t worry.

TP: Really? Oh, wow. Okay, good. That’s awesome.

AM: She’s the real deal.

TP: I’m blown away. I’ve never met an astronomer.

LD: And she was imperative in the narrative of this movie. Was our advisor and an unbelievable help. So thank you very much.

Q: Thanks for making the movie. The public perception of scientists has really taken a beating in recent times. As people who portrayed scientists in the movie, do you hope that this movie changes the public’s perception of science and the people who practice science?

LD: Adam created this film, which was about the climate crisis, but he created a sense of urgency with it by making it about a comet that’s going to hit Earth within six months’ time and how science has become politicized with “alternative facts. I was just thankful to play a character who is solely based on many of the people I’ve met from the scientific community, in particular, climate scientists who’ve been trying to communicate the urgency of this issue and feeling like they’re subjected to the last page on the newspaper.

There’s too many other things that we’re inundated with. I love the way he portrayed these two different characters. One that is incredibly outspoken, like a Greta Thunberg type of character in Jen’s, and mine that’s trying to play within the system. I also love the way he was just incredibly truthful about how we’re so immensely distracted from the truth nowadays. And then COVID hit and there was a whole new scientific argument going on there. And it’s just such an important film to be a part of at this particular time.

Q: Jen, what do you think about that? You portrayed PhD candidate Kate Dibiasky.

JL: I think Leo said it perfectly. It’s just so sad and frustrating to watch people who have dedicated their lives to learning the truth, be turned away because people don’t like what the truth has to say.

Q: I  appreciate that and think that really resonated with me and a lot of my colleagues in the science community. Adam, what is the mindset going into a film that’s viewing such a serious, real-life issue through the lens of comedy? How do you pull that off?

AM: We were talking about the idea we wanted to deal with – the climate crisis – which is so overwhelming. It’s arguably the greatest threat to life in the history of mankind. We just felt like you can get… It can almost be like an animal attacking you — It can just be overwhelming. But if you’re able to laugh, that means you have some distance. I actually think that’s really important. You can feel urgency and you can feel sadness and you can feel loss, while also having a sense of humor.

That was really the intention with this movie. After the crazy last five or 10 years we’ve all had across the planet, wouldn’t it be nice to laugh at some of this and feel the other feelings? So that was the approach, ’cause I think we get hit with the thumping doomsday talk quite a bit. Which, by the way, is totally legit when it comes to climate change. But , it was important that people be allowed to laugh and have some distance. It’s also a great unifier. You can’t really fake laughter. It’s not a political thing. They’ve tried, but it never really works whenever you try and fake that. So, yeah, that was kind of the thinking behind it.

Q: Leo, you’ve done actions towards protecting biodiversity and climate change. What encouraged you to take part in a movie that tackles these issues through comedy?

LD: I’ve been looking for a movie that was about this subject for decades now. But it’s like I said earlier, this is an issue where everyone feels ultimately like what kind of difference can we make?

How can we contribute to this cause? Adam really cracked the code with this-with this narrative. There’s so many comparisons that we can make to the climate crisis with this storyline. And, you know, as a whole, it’s probably the most important issue all of us could be talking about on a regular basis. It takes artists like this to change the narrative, you know? To create conversation and it’s just an honor to be a part of it, really.

Q: They say science brings us the facts, but art is what allows us to process the emotions and the feelings about it. What was the most important aspect or interesting aspect that you all learned from working together on this-on this film?

JL: Jonah, I think you should take it. What have you learned [in playing the President’s son]?

JH: Well, this is the first time we’ve met, so I haven’t learned that much from you yet, except that you’re nice, you’re charming. Honestly, I’ve been friends with Leo for a long time. I’ve always had mad respect for how much he puts his money and time where his mouth is, in regards to this issue. Not only as a friend but as someone who’s not just talking a big game, but actually walks the walk I have really heavy respect for him.

For me, I’ve learned how everyone was so bummed the past two years. I got in a room with all these people that are geniuses – some of whom are friends of mine, some of whom I didn’t know, but all of whom I respect. It was just amazing to laugh and think and create something in a time where everyone’s been stuck in their houses. It was really emotionally meaningful to me.

SM: I came into this project very nervous, because if you can imagine, just like the weight of it and who the cast is. So like the first day, the first moment was really nerve-racking. But watching Adam, watching Tyler, watching Cate, watching Ariana, and seeing how everyone was kind of just like in the element, so laid back and so in tune and, like, comfortable, it made me comfortable. 

Even though I was there for, what, three days, it felt like a family setting, and everybody embraced me. You know, it was my first time meeting Tyler who I’m a fan of, and it was so cool. I didn’t know he was so tall but I just learned that, sometimes you’ve just got to relax, go with the flow and just be in your space and be comfortable with shit, you know?

I was just ready for… I heard before when I talked to Kathryn Hahn, who’s a friend of mine, and she was telling me about Adam. She was like, “Just be ready for him to throw you anything,” And I was like, okay, that makes me even more nervous. But no, it was great. It was a great experience.

Q: It’s really fun to see it all come together. Adam, what about from your perspective, working with everybody?

JL: What did you learn from me?

AM: Jen taught me that as much as we all think we’re a big deal, there’s still a beating heart of a child inside each one of us. And Jen also taught me about justice, true justice.

JL: Where are you going with that?

AM: You can’t just put on a mask and go out and topple crime at the end of the day. Honestly, the thing that is beautiful about this movie was that it highlighted just how special collaboration is for me, because we’re in the middle of a pandemic, there was no vaccine that time. There’s definitely a vaccine now, and everyone should be getting it. But at that time, there was no vaccine. We all had to wear crazy masks and stay away and have zones and everything. But everyone did it and found a way to be creative, in a way that was genuinely moving and touching.

As for me, I feel like the whole time I’ve been working in movies or theater or TV or whatever, that’s the thing that I love the most. And seeing this group do that was one of the more special experiences I’ve ever had. Should I be looking at that camera when I answer? I should have looked at you. Sorry, I should have looked at them while I was saying it.

JH: Say it to the people that you’re talking about. 

MS: Otherwise you don’t believe it. Yeah.

JH: It just felt like you were performing. Did you actually learn anything through the course of this movie?

AM: They wanted me to talk about Subway, which apparently has a new 5.99 sandwich.

Q: So the comet in the movie is named after your character. How did this make you feel?

JL: I never thought about it. I think at first it’s very exciting, until it becomes, you know, a catastrophe, and then you’re named after it…

TP: Something that’s [terrifying?]

MS: The end of civilization.

JL: Something that people are really not happy about.

Q: Do you think that your character would have been proud of this, or mostly pissed off, or both?

JL: I think there was probably an evolution. I think at first she was very, very proud of this, and then I’m sure resentment started to build up as people started fearing Comet Dibiasky.

MS: Yes. But scientists want to name the achievement after themselves…

AM: Sometimes it’s not always a good thing. Fortunately, in real life, with the asteroids, uh, we would not name one that’s actually hazardous after a living person. That’s not allowed. Who was the inspiration for your character, and did you try to emulate anyone?

MS: My character? [laughs] There were so many places to take things from, because there’s so many preposterous people who’ve put themselves in public places recently. And shamelessly. It was fun to put together this character that was just pure id, just what her appetite wanted. And about amassing power, money, more power, and more money, and that’s pretty much- and nice hair and nails to top it off.

TP: And the Birkin [bag].

SM: And amazing suits.

MS: Amazing suits [Laughs]. But no fellow feeling. Unfortunately, that is the cost of being a public servant now, that you really have to make a big sacrifice. Your family makes a sacrifice, and you have to be willing to do that. It’s amazing that we get good people to do it [SIGH]. We need them right now more than ever.

Q: For Jonah and Leo, having developed a friendship and now on your third film together, how do you feel your chemistry affects the production? As you can see, the chemistry is clearly affecting this press conference.

LD: That’s right, Django two.

JL: Django. I was like, that was going to drive me nuts.

LD: I’ll just start right out of the gate and say he is an absolute genius, this young man, this friend of mine. His ability to improvise and take control of a scene and have the narrative be shifted in the most amazing, colorful ways is a sight to witness and something truly remarkable to experience. He’s absolutely a genius. I’d love to work with him on a hundred more films.

MS: Amen. Really fun.

JH: Thanks, buddy. Well, my time to answer. I agree with what he said. Real talk like, I’ve worked with pretty much all the best actors in the world, a lot of whom are up here right now. And there’s been no more loyal friend or anything I’ve ever made in show business Then aside from that, put all those feelings aside. What you see when they yell action and what he does – truly, no disrespect to anyone – nothing I’ve ever seen like it. That’s all I got to say, hands down.

Q: You two had some of the funniest scenes like the scene in the president’s office, when there’s this sort of ping ponging back and forth about probability. As a scientist, this is the first time I’ve seen probability so extensively debated in a movie. And you just completely trashed it in the most amazing, funny way which at the same time is horrifying.

JH: Yeah. Look, I don’t like nerds, and I have always been harsh on it. [LAUGH] No, dude, he’s the best. I mean, I’m sitting up here with a lot of other of the best, and I genuinely feel that way. 

But having made a few movies with Leo and lived with him, he’s the best person. Shuffle that all aside, if I didn’t know him and I had to be like, “What’s it like to work with another actor that’s like who’s the best actor to me?” I’d choose him every time.  

LD: Thank you, Jonah.

Q: This is for Tyler. In 2012, you co-hosted “Live with Kelly” when the show was in between hosts. Did you use that experience in crafting your character, or any other talk show hosts or friends in the process? Who did you model your character after?

TP: Okay, as fun as that was in that moment, I actually made a couple phone calls to a couple of people who are on morning shows right now, that I admire. Joe Scarborough is one, and Michael Strahan is the other. So I asked them, I actually sent them part of the script. I said, “Why don’t you read this and send it back to me on your iPhone? Just tape it.” And they did, and I was like, okay, I got some bits here, I got some bits there. Those guys are professional journalists. This guy is the guy I played. So they were very helpful in pulling that off and helping me to pull it off. I appreciate that.

AM: Tyler is being very humble, by the way. Because the big trick with him and Cate Blanchett was that they had to have real chemistry. It was so remarkable to see the two of you within five minutes. It was like you guys had been on a show together for 10 years. 

TP: That happens when there’s sexual chemistry. She wants me.That was obvious from day one, I’d say, “Oh, okay, I just have to flirt. I get it.” She’s gonna kill me.

Q: Jen, how long did it take you to learn the lyrics to the Wu Tang song at the beginning?

JL: I keep meaning to tell you, I only just recently….  The song came back on my phone and I was like, “All right, it’s been enough time, I’ll listen to it.” It took a while, it took a couple weeks. And then, of course … something happened with Covid where that ended up being my very first scene at work in the movie. And it was horrifying, ’cause I’m in this huge hanger, and it’s so quiet. I don’t know anybody. And I had to rap for the Wu-Tang Clan. It was just horrendous. What’s in the movie is like five seconds. I really wish I had known that. If I could have foreseen what you would have used. It was the worst day of my life.

Q: That had to have been a really strange experience of being in there in the middle of Covid. I can’t even imagine.

JL: Yeah, it was. And everybody’s behind masks. It was very embarrassing. Hey, I knew my assignment. I did know every word, I still do.

AM: And you did it very casually, like you heard it.

JL: There’s no place to hide, Dr. Doom prepares for the boom [laughs]. 

Q: Speaking of music here… I personally loved the ballad. I loved the song. As a scientist, how often do we get a song from Scott and Ariana Grande about science and the end of the world? There’s a killer line in there [laughs].

SM: It doesn’t happen often, no.

AM: No, I loved it. So what was it like for you to work with Ariana and to just go through this experience of writing music about the end of the world?

SM: I met up with Nick Britell and he played me the song. I immediately was like, holy shit, Where do I fit? Do you even need me? How do I approach this? And, he had something written for me. We tried, but it just wasn’t working,  I was just like, “Maybe it would be better if I approached this like doin’ my flavor, and kinda taking that approach.” Another thing was really like, okay, this is not me writing a song from the Kid Cudi perspective; this is from DJ Chello’s perspective.  And they just linked back up. So he’s pretty much confessing and expressing his love to her. He’s forgetting about the importance of the song in general and is like, “Oh I’m just happy to be with my baby. You know?” 

I just took this approach of you’re on the stage with this girl, you’re making this love song, Not a love song, but you’re making this song with the love of your life, and it’s your time to…  You guys just had a huge fallout and everyone around the world knew about it.

Now you guys are coming together. So it was this kind of reunion moment for me. It was intense at first because Ariana is such an incredible artist. And you know, her vocal performance is just stellar. It’s like her voice is just amazing. I’m sure everybody can agree. I’m just really happy that we were able to figure it out, and it worked man. I’m really proud of it.

AM: All right, can you do a whole album of science songs?

SM: We can figure this out [laughs].  We can figure this out. We can do a NASA mixtape and NASA mixtape Platinum [laughs].

AM: I can play this for all my classes.

SM: Yeah, yeah, yeah, but y’all gotta cut a check though. And y’all gotta talk [laughs].

AM: A science album [laughs].

TP: We were just talking about this, what I find fascinating about this movie and him writing it is, it seems so prophetic to see where we are right now with, uh, NASA sending a rocket to try and knock a comet off of course. I don’t know the language, we’re astronomers. I thought that was absolutely fascinating it’s happening in real life today, right now as we sit here. Did I dream that? It’s really happening, right? 

SM: They said it’s not life-threatening.

TP: Just to see if we can do it, if we can move one off course.

AM: It was a test to see whether or not an asteroid can have its orbit deliberately changed in a slight way.

TP: And when do we know?

AM: About a year from now, roughly a year. It’s pretty fast.

MS: Because it’s 2.1 million miles away or something.

AM: Something like that. It’s pretty far. But we still have to find the asteroids first, so we like to work on that.

LD: What kind of explosive device are we talking about here?

AM: In this case this thing is just gonna bump into the asteroid. So nothing too complicated. It really is just a bump into the asteroid and trying to slightly push it just a little bit. There’s actually an asteroid that’s about the size of the comet in our movie named after Amy that’s in a harmless orbit. But it’s something like nine kilometers wide. But it’s about the size of our movie’s comet, right?

Q: Yeah, it’s pretty big but perfectly harmless, totally.

JH: Everyone thinks their comet is harmless [laughs]. Look in the mirror for a second. Your comet’s a danger call.

Q: Leo, in real life you’re active in bringing awareness to environmental problems. Did that make it easier to tap into Dr. Mindy’s speech? He’s got this really fiery speech in the movie. How did that inform your approach for it?

LD: Very much so. I just have to articulate it again and you know, this climate isn’t your field of expertise. But I spoke to you as if you were a climate scientist through the lens of an astronomer. And you were so incredibly helpful in the convergence of these two worlds, which is what Adam was trying to do, in creating this character and the entire movie.

So, we worked on the speech probably 50 times together. And what I really wanted to do was to try to articulate the frustration of the scientific community … how one is sitting there on a pulpit speaking the truth. And Adam wrote so brilliantly, you know, all these other noises sort of drown out the main message.

And so we worked a lot together on, you know, trying to understand the frustration of the scientific community and how one would be in a situation like that of ultimate frustration realizing the world is falling apart. And how do you, you know, take off this sort of professional jacket to cut straight to the chase about the-the truth of this issue. So again, I wanted to thank you for all the great conversations we had. Cause you were really the convergence of those two things for me.

Q: It felt really cathartic watching that speech, uh, especially we had a screening in LA with other scientists, and they were cheering. [laughs] Jen you mentioned that you fan-girled so hard when you saw Ariana Grande. [LAUGH] Can you tell us a little bit about what it was like to meet her?

JL: It was shocking. She’s so tiny. I’m a huge fan of her music and Scott’s. It’s just overwhelming. ‘Cause our worlds don’t normally collide. I just felt like a radio contest winner. I just didn’t know how to talk to her. I just did my best [laughs].

Q: To everybody here, which scenes in the movie felt uncomfortably real to all of you? Tyler I want to start with you. Which were the ones that really made you uncomfortable?

TP: You know, just when they were in the Oval Office and Meryl’s character is there with her son and just talking about, eh, just dismissing the facts and science. That to me was just very much ringing true because of what’s happening especially at the time, and the country where we were with the pandemic and things just being dismissed. And everybody’s saying things counter to what the truth is. So for a narrative while people are dying, that was pretty right down the road scary!

Q: How about you Jonah, what did you feel was uncomfortable?

JH: I agree. I just also wanna say, like, Adam walked the craziest tightrope in this movie, which I think is almost impossible and he pulled off. It’s like taking things that are terrifying and using comedy to maybe make them digestible in some way or palatable in some way or entertaining in some way. So I found the whole movie to just be like the truth, both terrifying and hilarious.

When the pop stars are promoting their projects on the show while someone else is talking about the world ending. The topics are all treated with the same weight, without one being more important than the other, like it’s all the same. We’re all guilty of it too. It’s not like I’m any better. You know what I’m saying? So I think there’s something deeply human that he tapped into. It’s terrifying but also the truth.

Q: That’s how we connect. How about for you Meryl?

MS: There are a lot of chilling moments. One just — I don’t know why — but it really hit me was the scene in the bar with Tyler and Cate when everything’s going to shit outside. And she says, “I just want, you know, to get drunk and talk shit about people.”

I know lots of people like that, that’s not an unusual reaction. But it kinda chilled my bones. And then the one where they’re in the car and Timothée Chalamet … I don’t want spoilers, but he proposes an idea to Jen and she goes, yeah. And it’s so clear, there’s just no way it’s ever gonna happen. You know, but it’s just that glimmer of the human dream where we hope something good  is going to happen, even though we know something bad is. And that’s sort of the kernel of truth of this is that we push this information away. Smart people, people who don’t have a scientific background, everyone pushes it away, because it’s just too painful. 

I said to Adam when we first talked about promoting it, that you’ve got to give people three things that they can do [LAUGH] so they want to kill themselves at the end. Because it would be great to have three things, if it were only that simple. But one of them is obviously devoted….  For people who believe and understand the imminence of this threat to all our lives __ rich people, poor people, everybody, everything flows from this, every issue of injustice, inequity, everything. If we don’t survive, none of it matters.

Q: We gotta make science-based decisions. I think that it’s core. That’s what this movie is really about. It’s important to do that. Science is happening whether we like it or not. Right? [laughs]

That’s just what happens. Okay, so let’s go to Jovem Nerd from Brazil for the group. And you know, in one scene – continuing on this theme a little bit – Leo’s character says that not everything has to be positive all the time. Is this a criticism of our current way of life, the way that we think, our media right now? I mean how do you all feel about that? 

AM: I mean he says that line, he says not everything has to be charming or clever … not necessarily positive. But I do think there’s this demand, because there’s so much money behind the media with advertising and clicks and apps that there has to be some engagement happening on some level, or people have to have a hot take or be clever. And I love the way … we must have re-written that speech like 20 times, and it’s one of my favorite moments when you say that. Sometimes we just have to be able to say things to each other.

That seems to be the basic line that’s been corrupted, that we profitize the very way that we speak to each other through social media, through phones, commercials, shows. Everything is – you know, they know – it’s crazy to think about it. I mean they now call it … they don’t call it TV shows or songs, they call it “content.”

It’s literally a word from a boardroom. That’s how much we’ve prophesied the way we talk to each other. So yeah, I think sometimes you just have to be able to hear things. There has to be a neutral playing field occasionally that is not brightly lit with sound effects and-and great looking people that have, you know, high focus group test numbers. So that’s one of my favorite moments in the movie for sure. And what Leo did with that speech was incredible. You worked so … he just was tireless with that. We kept going back and back. And your sense of that speech was so spot-on that it was going to be that moment. 

MS: And my favorite thing is that you think it’s over, and then it regenerates even bigger. It’s just-it’s just like, he’s goin’ on way too on this. Way too long. 

AM: Do you guys feel like we’re so hungry for someone to express real emotion? 

MS: Yes, we’re mad as hell. And we’re not gonna take it anymore [laughs].

AM: Yeah, like, I mean you just see these politicians’ speeches in that same cadence every single time. And it’s like, will someone be angry or afraid or sad? Like, you’re kind of missing it. It’s so satisfying when both you guys have your moments. It just feels like, ah, I’m dying for that. 

MS: Well, yes, I love Jen’s righteous anger. I mean it’s just – and her despair.

JL: You don’t have to compliment me just ‘because you guys complemented Leo [laughs].

MS: Oh, well I don’t like Leo, so I’m complimenting you [laughs].

AM: It all really compliments Meryl, so don’t worry about it.

JL: I really liked Meryl’s incompetence as a President.

MS: And my shoes. but it is a question. How do you make that … how do you make it penetrate? And the thing about music, this song is so great. Because music goes in … it’s just in your head. It’s not even something that’s at a distance now. We have it in here and carry it around. Kids carry it around.

Q: So it’s fun to actually have something that speaks to science through music. I mean how many songs are there about geometry?

SM: Well if you consider Cardi B, I mean she’s got … No, I’m kidding. 

Q: That’s true. It is really powerful. It’s a way of communicating that maybe is a different way into the material. Which is sometimes really complicated and dense. And also too, not all that happy, right? How do we take it and process it? As an astronomer working on this subject, there is no comet or asteroid that’s heading our way. But hypothetically if there were one, what would be your most immediate action? What would you do if it were the last day on Earth?

SM: I would definitely try to get to my daughter wherever she’s at. Now of course, I wanna see my mom, and my sister. But my daughter I gotta get to her, definitely.

TP: What I love is at one point in the movie there’s some people sitting around the table, and I think that that is just so powerful. And I think that’s exactly what I would do, sit around the table with people that I love and care about, have some wine, and have a great meal. And give everybody cyanide right before it happens.

SM: That’s a great plan. I’m comin’ to your house [laughs]. 

JH: I would tweet to make sure that people knew the cool thoughts that I had to say and my opinions on different stuff like movies and stars, how the stars live their lives, what they look like and who they’re dating and stuff.

TP: That’s brilliant.

AM: That’s so different too, that would be cool to hear about that.

JH: Yeah, I think people in their last moments would wanna read that.

AM: You know, I’ve always wanted…

JL: He’s not wrong. In my last moments I would die commenting on TikTok.

JH: I mean it goes without saying for me – surfing, girlfriend, dog, family, love – all that matters. I also want to give Jen Lawrence props because she’s my friend. Sometimes I don’t say how amazing and brilliant it was to watch her work. And like, we joke around so much, but Jen, you’re a boss.

TP: I agree. Even with that wig you were wearing was amazing. 

MS: I loved that wig. 

JH: Don’t you want to know what Meryl would do if the world was ending? She is Meryl Streep, I’m curious to know what…

Q: Yeah, she is Meryl Streep. So Meryl, what would you do if the world was ending?

MS: I’m sure I would just try to find my grandchildren and be with them. My kids, they’ve had enough of me [laughs].

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G.H. Harding

GORDON OH GORDON — (from The Guardian) In the 1960’s and 70’s, no serious rock fan viewed the drummer Jim Gordon with anything but awe. By the 80’s, none of them viewed him with anything but contempt, a 180-degree turn that led to his virtual erasure from the culture. Even four decades later, when the veteran music journalist Joel Selvin first tried to sell publishers on a book meant to tell Gordon’s story with nuance and depth, they balked. “They would debate it for months and then say, ‘Nope, can’t do it,’” Selvin said. “It was almost impossible for them because of what he had done.”

In 1983, he entered his mother’s house and began to attack her with a hammer, crashing it into her skull four times before grabbing a knife and stabbing her repeatedly, the final time with such force it pinned her to the floor. Soon after her resulting death, Gordon was arrested, charged and convicted of murder, and spent the next four decades in prison, before dying this past March at 77. Over the years, several prominent articles have been published that tried to trace the outlines of Gordon’s story, ascribing his heinous act to an diagnosed case of schizophrenia that forced him to hear voices and experience hallucinations. Yet only in Selvin’s new book, Drums & Demons, does the reader get a feel for the full horror of his disease and the mess it made of his mind. “In one of his hallucinations, he thought he was in a jail cell that was on fire,” Selvin said. “To me, that was a metaphor for Jim’s whole life. For him, life was a jail cell that was always on fire.”

Despite the chaos that created, both for Gordon, and increasingly, for those around him, Selvin aimed to tell his story with empathy. Only after the drummer’s death was, he able to finally convince a publisher to go along. “The guy got so little compassion,” he said. “I wanted readers to know just how impossible Jim’s life was and how brave he was in battling the disease.”

At the same time, the author meant to “restore Jim’s peerless legacy. Who has done more to put his mark on our music than Jim Gordon?” Selvin said. “What a playlist he was on!”

Just tracing the surface of Gordon’s contributions reveals more than 100 classic songs powered by his invention and finesse. In his early studio work, he appeared on an entire chart’s worth of pop hits, by acts like the Beach Boys, Ike & Tina Turner, the Byrds and Glen Campbell. By the 70’s, he became a key member of pivotal rock bands, including Delaney & Bonnie, Mad Dogs & Englishmen, Derek and the Dominos and Traffic. Growing up in the San Fernando Valley of California, Gordon became entranced by the power of the beat from childhood. He played in bands by puberty and, by 17, helped flesh out demos for the publishing arm of Liberty Records. That same year, he joined the Everly Brothers on a tour of England and, afterwards, became part of the storied Wrecking Crew, a loose collection of studio musicians who played on a dizzying range of 60’s hits. “Back then, there were loads of great studio drummers,” said Lenny Waronker, a legendary producer and record executive whose career started in the same west coast studio milieu of the 60’s. “Jim was able to plow through that. All the other musicians were amazed by him.”

Gordon’s role on those storied sessions extended way beyond the simple task of keeping time. “He wasn’t just a backbeat guy,” Selvin said. “He was a fully musical drummer who embedded his playing into the core of the composition.”

For instance: in the 70’s hit, Grazing in the Grass, by the Friends of Distinction, Gordon’s drum elaborated the song. “Even though there was a chart in which every note was written out for him, he added a Latin boogaloo feel that exploded the whole record,” Selvin said.

The fills and intonations he added to Carly Simon’s You’re So Vain contoured the melody and directed the listener’s ear to the record’s subtler touches. “Jim orchestrated that entire song from the drum stool,” Selvin said. In Maria Muldaur’s number one smash Midnight at the Oasis, he added a key samba groove, while in Steely Dan’s Rikki Don’t Lose That Number, the tricky beat he devised deepened the song’s debt to jazz. In doing so, “Jim became an important part of the hit-making process,” Selvin said.

Mark Lindsay, frontman of the hit group Paul Revere & the Raiders, immediately noticed Gordon’s gift after he was hired to drum on their song The Great Airplane Strike. “He was doing this polyrhythmic thing with a kick, a snare and a high hat, accented by tom-toms,” Lindsay said. “He changed the song up so much that I wound up rewriting half of my lyrics to fit was he was doing! Jim became the conductor of the track.”

Waronker recognized the same level of creativity on Sundown, a song he produced for Gordon Lightfoot that became a number one hit. “His drum part made the song move in its own way,” he said. “It’s a specific rhythm that Jimmy picked up from Gordon’s guitar. It became one of the most important parts of the song.”

In the 70’s, Gordon expanded his range to work with rock’n’roll’s most cutting-edge bands on the road. “When you listen to his live work with Mad Dogs & Englishmen or Derek and the Dominos, he’s unleashed,” Selvin said. “The ideas just flow from him.”

At the same time, the voices that were roiling inside his head began to find disturbing external expression. In an infamous incident on the Mad Dogs tour, he hauled off and punched his then girlfriend, the singer Rita Coolidge, in the head. “Here was a guy who was noted for being gentle, smiling and laid back,” Selvin said. “But that was just the mask he wore.”

Some people were already beginning to see through it. “[The singer] Claudia Lennear said she always wondered about that smile,” Selvin said. “It was too simple. She felt he was hiding behind it.”

“Jim had such genius,” Lindsay said, “but I sensed there might be something lurking behind the curtain.”

To Selvin, Gordon’s talent can’t be separated from his torment. “The level of intuition that Jim displayed

in his playing requires a certain electro-chemical makeup,” he said. “His highly personal style had to come from the same place in the brain that produced his schizophrenia.”

At the same time, the focus and power involved in playing drums gave Gordon a refuge from the cyclone of thoughts whipping through his head. “The combination of the resonance of the drums and the rhythmic entertainment of the groove produces a hypnotic feeling that can lift you out,” Selvin said. “Nothing calms a schizophrenic faster than a Walkman and a pair of headphones. For Jim, the drums provided a place where the voices couldn’t follow.”

Strangely enough, the herculean amount of recreational drugs Gordon took at the time also had a calming effect. “You would think that the massive amounts of cocaine he did would make things worse,” Selvin said. “But I talked to psychiatrists who said that it would normalize his dopamine levels. He was doing blow to feel normal.”

Similarly, the crazy rock’n’roll lifestyle of the 70’s, which Gordon exemplified, served as a cover for his increasingly aberrant actions. “The rock scene of the time was nearly indistinguishable from psychotic behavior,” Selvin said with a rueful laugh. “Jim just blended into the background.”

It helped that, at the time, he was still soaring creatively. In 1973, Gordon devised a pair of drum patterns that proved crucial to the development of two separate genres. His work on the Hues Corporation’s smash Rock the Boat, with its high-hat syncopations and danceable beat, helped patent the rhythms of disco. Similarly, his extended break on the song Apache, paired with the congas of King Errisson, became a foundational pattern in hip-hop that was later sampled ad infinitum. “When Kool Herc found Jim’s long drum break on Apache, he discovered that he could make it bound from one turntable to another forever,” Selvin said. “He was driving crowds nuts with that sound.”

By late in 1973, however, Gordon’s beat, and sanity, were beginning to seriously waver. He viciously attacked his wife Renee Armand, cracking several ribs in the process, ending their marriage. His work with the would-be country-rock super group Souther-Hilman-Furay Band grew so erratic they had to sack him. While he managed to keep it together in the studio for a few more years, by 1978 Gordon proved too unreliable to be employed.

In a reporting coup, Selvin acquired research that helped fill in Gordon’s inner life during that pivotal time. He found two women who, in the late 80’s, had gained the drummer’s cooperation for a book that never got off the ground. The notes they took gave Selvin access to jail house interviews with Gordon along with his medical records and related court documents. (Selvin sent several written requests to interview Gordon himself but they went answered.) Regardless, the research he acquired from the women allowed him to put the reader deep inside the musician’s roiling mind.

The voices Gordon heard shamed him so deeply, he rarely told anyone about them, which contributed to him never getting a proper diagnosis. His mother, one of his closest witnesses, believed that drinking and drugs were his problem rather than a symptom of something far more corrosive. While Gordon began to imagine that many people were torturing him at the time, the main voice in his head was his mother’s. “Because Jim’s father was a practicing alcoholic, his mother became the sub rosa leader of the household,” Selvin said. “That’s why she became the major figure in this panoply of voices hectoring him.”

As a result, it was her voice that he felt the most urgent need to silence. Once details of the subsequent murder came out, some observers who knew Gordon in his high functioning days were floored. “When I knew him, he was a tremendously nice person,” Waronker said. “He was the all-American boy.”

Selvin’s book describes what led up to the murder in granular detail, but he doesn’t write much about Gordon’s subsequent decades in prison because, he said, he found it undramatic. Often keeping to himself, Gordon became a virtual zombie due to the anti-psychotic drugs the prison pumped him with. Rare as Gordon’s particular case was, one key reason Selvin said he wrote his book was to let readers know how common various forms of schizophrenia are. “To me, the single most astonishing fact of the research I did was that schizophrenia affects one in 100 people,” he said. “Let that sink in: Multiple sclerosis affects one in 10,000! We see these people out in the street, hearing voices all the time. Their world is totally frightening. And I have nothing but compassion for them. Unfortunately, society doesn’t.”

The other key reason Selvin wrote Drums & Demons, he said, was to restore Jim Gordon to the popular music world. “He’s gone,” he said, “and he needs to come back.”

Drums & Demons: The Tragic Journey of Jim Gordon is out on 27 February.

SHORT TAKES —New bio on the Bee Gees by music-wiz Bob Stanley. The group, one of my all-time favorites, were huge, but in many ways never got the respect they deserved. Many people don’t realize that Robert Stigwood, who masterminded them to the top, used to work for Brian Epstein.I’m eagerly waiting for this one. From Pegasus BooksWe watched Anatomy of a Fall and loved it. Its long, but fascinating and intense. A French legal drama, directed by Justine Triet from a screenplay she co-wrote with Arthur Harari. A great cast, especially Milo Machado-Graner, as the boy Daniel …

I watched the opening SNL monologue, with host Shane Gillis -who was fired from the cast for some racial slurs-. A sort of Adam Sandler-wanna be, I didn’t find him funny in the least. He actually reminded me of a low-rent Louis C.K. -remember him?

Lorne Michaels

I don’t know why Lorne Michaels would even want him back, except for some splashy ink – which wasn’t terribly kind. This appears to be Michael’s next-to-last year on the show and he’s clearly choosing to go out quietly. No more gas in the engine I fear …

AppleTV+ has a new show Constellation with Noomi Rapace. Stunningly done; reminds me of Gravity from a few years back … And, Happy Bday Paul Undersinger and George Harrison!

NAMES IN THE NEWS — William Schill; Anthony Noto; Tom & Lisa Cuddy; Derek Taylor; Charles Comer; Howard Bloom; Mark Bego; Phil Goldstein; Tropique Records; Marsha Stern; Beth Wernick; Marion Perkins; Les Schwartz; Liz Rosenberg; Bob Merlis; Obi Steinman; Andrew Sandoval; Warren Lawrence; Jodi Ritzen; Jeremy Long; and CHIP!

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Bonnie Comley Nothing To Wear

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Bonnie Comley stepped into the art world last night. She and ChaShaMa presented a piece called “Nothing To Wear”, at 340 East 64th Street, which is an interactive installation, a thought provoking look at fast fashion and body image. This provocative look at our relationship with our clothing choices as it pertains to our self image, fast fashion and textile waste, challenges the fashion industry to create an alternative to current business models and the global appetite for consumption. “Nothing to Wear”, asks viewers to question dress codes like the current policing of women in political office, facilitates self-reflection on biases regarding our own clothing and the community around us as uniform, self-expression, or just protection from the elements of weather.

Also involved were Sarah DeMarino – Co-Producer/Director, Leah Lane – Soundscape Monologue Writer and Jasper Isaac Johns the Exhibit Designer.

Sarah DeMarino and Dallas Bernstein

At the opening and on certain dates Hannah Durant Joe Guccione and Dallas Bernstein perform monologues that coincide with the project. These mini playlets were insightful and thought provoking.

Hannah Durant Joe Guccione and Dallas Bernstein

In attendance were:

Anita Durst and fashion designer Shani Grosz

Cooper Lawrence, Dr. Robi Ludwig, Errol Rappaport, Bonnie Comley, Quinn Lemley, Suzanna Bowling, Shani Grosz and Merrie Davis

Anita Durst and Bonnie Comley

Danielle Price, Bonnie Comley and Andrina Wekontash Smith

Guest and Bonnie Comley

Guest and Bonnie Comley

Alyssa Ritch Frel and Bonnie Comley

Guests

Bonnie Comley and guests

Riki Kane Larmire

Bonnie is a three-time Tony Award-winning producer. She has, also, won an Olivier Award and two Drama Desk Awards for her stage productions. She was recently re-elected as the Board President of The Drama League. She is a full member of The Broadway League and the Audience Engagement and Education Committee. Comley has produced over 40 films, winning five Telly Awards and one W3 Award. She is also the founder and CEO of BroadwayHD, the world’s premier online streaming platform delivering over 300 premium live productions to theatre fans globally. The theatre community has honored Comley for her philanthropic work; she is the recipient of The Actors Fund Medal of Honor, The Drama League Special Contribution to the Theater Award, The Paul Newman Award from Arts Horizons and The Theater Museum Distinguished Service Award.

Stewart F Lane and Bonnie Comley

ChaShaMa helps create a more diverse, equitable, and inclusive world by partnering with property owners to transform unused real estate. Currently, they present 150 events a year, have workspace for 120 artists, and have developed 80 workshops in under served communities. They have awarded 11 million dollars worth of real estate to artists and have subsidizes another 300 with work spaces. They provide over 215 free art classes and have supported over 75 businesses with free space

To see Nothing to Wear click here

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New-York Historical Society Celebrates Women’s History Month

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Throughout Women’s History Month, the New-York Historical Society, 170 Central Park West (at 77th Street), will showcase women’s stories through exhibitions, installations, and public programming.

On International Women’s Day, renowned Cherokee artist Kay WalkingStick and New-York Historical’s Chief Curator Wendy Nālani E. Ikemoto will be in conversation over a live, free Zoom discussing WalkingStick’s exhibition Kay WalkingStick / Hudson River School, on view at New-York Historical through April 14. Other exhibitions and displays on view throughout March include Women’s Work, an exhibition that demonstrates how “women’s work” defies categorization; Women Who Preserved New York City which explores how Shirley Hayes, Margot Gayle, and Joan Maynard galvanized communities to save historic buildings and places; and Serving Style: Ted Tinling, Designer for the Tennis Stars, which turns a spotlight on the designer who made many of Billie Jean King’s iconic looks. On March 3, the ninth annual Diane and Adam E. Max Conference on Women’s History will center on exploring how we understand “care.”

Additional details follow:A Conversation with Kay WalkingStickFeaturing: Kay WalkingStick, Wendy Nālani E. IkemotoFriday, March 8, 6 – 7 pm ETFree | Presented live on ZoomCelebrate International Women’s Day with this online event featuring renowned Cherokee artist Kay WalkingStick in conversation with New-York Historical’s Wendy Nālani E. Ikemoto. WalkingStick is the focus of our acclaimed exhibition Kay WalkingStick / Hudson River School, which places her work in a fascinating dialogue with 19th-century Hudson River School paintings and explores the relationship between Indigenous art and American art history. They’ll discuss WalkingStick’s remarkable career, her recent invitation to the Venice Biennale, and her decades of work reimagining and reframing the American landscape.Kay WalkingStick / Hudson River SchoolOn view through April 14Kay WalkingStick / Hudson River School places landscape paintings by the renowned, contemporary Cherokee artist Kay WalkingStick in conversation with highlights from New-York Historical’s collection of 19th-century Hudson River School paintings. This artistic dialogue showcases the ways in which WalkingStick’s work both connects to and diverges from the Hudson River School tradition and explores the agency of art in shaping humankind’s relationship to the land. The exhibition celebrates a shared reverence for nature while engaging crucial questions about land dispossession and its reclamation by Indigenous peoples and nations and exploring the relationship between Indigenous art and American art history.Women’s WorkOn view through July 7Presented by the Center for Women’s History, Women’s Workshowcases approximately 45 objects from New-York Historical’s own Museum and Library collections to demonstrate how “women’s work” defies categorization. The items range from a 19th-century mahogany cradle to a 20th-century doctor’s dissection kit to a pinback button with the message “Shirley Chisholm for President.” The exhibition seeks to demonstrate that women’s work has been essential to American society and is inherently political: Women’s work is everywhere.

Women Who Preserved New York CityOn view through June 9This installation explores how three women—Shirley Hayes, Margot Gayle, and Joan Maynard—galvanized communities to save historic buildings and places. Each subverted gendered expectations that limited them to the domestic realm and instead led campaigns to protect the historic cityscape.Serving Style: Ted Tinling, Designer for the Tennis StarsOn view through June 23Our installation turns a spotlight on the designer who made many of Billie Jean King’s iconic looks. King and Tinling had a tremendous influence on the visibility of women on the tennis court. King’s tenacity and commitment for equal rights, together with Tinling’s bold designs, challenged conventions about what women can do, emphasizing that women can be simultaneously powerful, strong, and feminine.

On and Off the Clock: Reconsidering Women’s WorkSunday, March 3, 12—5 pm ET$4; Free for Women’s History Council MembersThe ninth annual Diane and Adam E. Max Conference on Women’s History will center on exploring how we understand “care.” Across three linked panels, we probe what “care” means, who does the work of caring, and what services get pushed to the margins by our current social policy framework. The conference will culminate with a keynote conversation on reproductive care. Reception to follow.

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Events for March

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St. Patrick’s Day, Women’s History Month, a Harlem Renaissance exhibit at the Met with160 works by Black artists. Beatrix Potter: Drawn to Nature,at The Morgan Library & Museum through 6/9. The Orchid show continues until 4/21 at the Enid A. Haupt Conservatory at the New York Botanical Garden in the Bronx. Florals in Fashion highlights the work of designers Hilary Taymour (Collina Strada), Olivia Cheng (Dauphinette) and Kristen Alpaugh, aka FLWR PSTL Also Alicia Keys and Swizz Beatz’s “Giants,”is at the Brooklyn Museum until 7/7. The exhibition features artists who have made and continue to make a significant impact on the art world and contemporary culture. The show features 98 artworks by Black American, African, and African artists including Gordon Parks, Kehinde Wiley, Jean-Michel Basquiat, Mickalene Thomas, Hassan Hajjaj, Barkley L. Hendricks, Lorna Simpson, and Amy Sherald.

3/1 -3: The Vienna Philharmonic one of the world’s most celebrated orchestras, takes center stage at Carnegie Hall.

3/3 -5: Coffee Fest NY Javits.

3/3 -5: International Beauty Show Javits.

3/6 – 10: The New Colossus Festival provides a platform for new artists, including international bands making their NYC debuts. The festival will take place across multiple venues mostly spread throughout the Lower East Side and the East Village, including Bowery Electric, Mercury Lounge, Berlin, Heaven Can Wait, and others. This year’s artists include Cucamaras (UK), Ducks LTD (Canada), Heffner (US), Holiday Ghosts (UK), Hotel Lux (UK), Housewife (Canada), and more. You can check out the full lineup and schedule of events here.

3/8: International Women’s Day 

Steven Reineke by Michael Tammaro, Bryan Terrell Clark by Asher Angeles, Valisia LeKae by Antonio Navas

3/15: The New York Pops Hitsville: Celebrating Motown

3/1 -17: The Annual Flamenco Festival with 22 performances across 13 different venues all over the city.

3/1 -17: The New York International Children’s Film FestivalHappy St. Patricks Day
3/17: Join in on the 263rd celebration of the St. Patrick’s Day Parade in NYC. The parade kicks off at 11am, moving along Fifth Avenue from 44th Street to 82nd Street. This year’s grand marshal, Maggie Timoney, president and CEO of Heineken USA, is only the fifth woman to lead the parade since its inception.

3/20 -24: Affordable Art Fair with over 400 living artists to discover you are sure to find your next perfect artwork.

3/23 – 11/: JAPAN Fes, in Manhattan, Brooklyn, and Queens. This is the largest Japanese food festival in the world, with over 1,000 vendors.

The Macy Flower Show

3/24 – 4/7: The Annual Macy’s Flower Show created in partnership with Dior.

3/26 – 10/2: Apollo: When We Went to the Moon at The Intrepid Museum. The exhibit is included with museum admission.

3/29 – 4/7: The International Auto Show at the Javitts.

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Cabaret, Talks and Concerts For March

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Brave the rain and head out to the clubs for they abound in entertainment galore. Here are our top picks.

92 Street Y: 1395 Lexington Ave. 3/ 2 – 4: Soul Picnic: The Songs and Legacy of Laura Nyro; 3/ 11: Cabaret Conversations Sally Mayes and 3/18: The Ally: Josh Radnor and Playwright Itamar Moses in Conversation Co-presented with The Public Theater.

 

Karen Mason

Birdland Jazz: 315 West 44 St. Every Monday at 5:30 Vince Giordano and The Nighthawksand 9:30pm Jim Caruso’s Cast Party; Every Tuesday at 8:30pm The Lineup with Susie Mosher; 3/11: It’s De-Lovely: Jeff Harnar Sings Cole Porter and 3/25: Karen Mason In “Just In Styne: Karen Sings Jule”.

 

Orfeh

Cafe Carlyle: 35 E 76th St. 2/1-3: Through 3/2: Jennifer Holliday; 3/3 – 4: Mallory Portnoy and Nick Blaemire; 3/5 – 20: Hamilton Leithauser and 3/21 -23: Orfeh.

Steven Reineke by Michael Tammaro, Bryan Terrell Clark by Asher Angeles, Valisia LeKae by Antonio Navas

Carnegie Hall: 881 7th Ave at 57th St. 3/15: The New York Pops Hitsville: Celebrating Motown; 3/20: of Sinéad O’Connor and Shane MacGowan; 3/23: Meow, Meow and  3/27: Standard Time with Michael Feinstein.

Michael Feinstein

Chelsea Table + Stage: Hilton Fashion District Hotel, 152 W 26th St. 3/10: Klea Blackhurst; 3/11: Mark MacKillop and 3/16: Randy Edelman.

Klea Blackhurst

Don’t Tell Mama: 343 W. 46 St. 3/3: Marcus Simone & Tracy Stark and 3/16: Lucille Carr-Kaffashan.

The DJango: 2 Avenue of the Americas.

Ann Hampton Callaway

Dizzys Club Coca Cola: Frederick P. Rose Hall, Broadway at 60th Street. 3/8 – 10: Ann Hampton Callaway and 3/21; Songbook Sundays Rodgers and Hammerstein.

54 Below: 254 West 54 St. 3/1: The Leading Lady Club: A Celebration of Women on Broadway and Beyond; 3/2 – 3 : Alysha Umphress: 15 Stories; 3/4: Songs From Women At The Table; 3/6: Hugh Panaro: Man Without A Mask; 3/8- 9: Christine Andreas: Paris to Broadway; 3/15 – 16: Melba Moore: From Broadway, With Love; 3/19: 54 Celebrates The Marquis Theatre, feat. Kate Baldwin, John Bolton, & more!; 3/20 – 21 and 23: Leslie Uggams; 3/22: My First Sondheim; 3/24: A Gentleman’s Guide 10th Anniversary Celebration, feat. Lauren Worsham & more!; 3/25: The Wicked Stage: Songs About Show Business, Hosted by Christine Pedi;  3/26 – 27:  Nicole Henry: Decades of Diva; 3/28: Ute Lemper: Rendezvous with Marlene and 3/29 – 30: Andrea McArdle: Confessions of a Broadway Baby.

Andrea McArdle

Andrea McArdle Photo by Genevieve Rafter Keddy

The Green Room 42: 570 10th Ave. 3/4: Figaro a New Musical; 3/22: An Acoustic Evening with Sondheim & Melissa Melissa Errico; 3/23: Nic and Desi: 3/23: Joshua Turchin Composers In The Green Room 42 and 3/24: Reeve Carney.

Sony Hall: 235 W. 46th St.

Theatre at the West Bank Café: 407 West 42 St. 3/2,3, 9,10, 16, 17, 23,24, 30 and 31: Lucky Cheng’s Drag Brunch.The Triad: 158 W. 72 St. 3/16: Stay Golden – The Golden Girls Drag Tribute!The Town Hall: 123 West 43rd Street. 3/4: RuPaul The House Of Hidden Meanings

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