As the Golden Globes were announced this morning theatre alumni’s took nods. Denzel Washington and Viola Davis both won Tony Awards in August Wilson’s Fences, and are nominated for Golden Globes for the film version. Sadly the film was not nominated.
Best Film nominee La La Land featured songs by Benj Pasek and Justin Paul, whose Dear Even Hansen, is one of my favorite shows on Broadway.
Tony, Pulitzer, Grammy and Emmy winner Lin-Manuel Miranda (Hamilton) is in line for another major award, being nominated for Best Song for a tune from Disney’s Moana.
Liev Schreiber, currently on Broadway in Les Liaisons Dangereuses, was nominated for TV’s Ray Donovan.
Bryan Cranston, who won a Tony Award for his performance as President Lyndon Baines Johnson in the Broadway production of All the Way, scored a nomination for playing the same role in the TV movie adaptation of the play.
Meryl Streep will be honored with the Cecil B. DeMille Award. She is also nominated for Best Actress in a Motion Picture/Comedy for her role in Florence Foster Jenkins. Last year’s recipient of the DeMille Award was Denzel Washington, who is also nominated for a Best Actor/Film this year.
The Golden Globe Awards, will be presented by the Hollywood Foreign Press Association, January 8, 2016. The live ceremony will be broadcast starting at 8 PM ET on NBC-TV. Jimmy Fallon will host.
2017 GOLDEN GLOBE AWARDS NOMINATIONS – FILM
Best Performance by an Actress in a Motion Picture Drama
Amy Adams (Arrival)
Jessica Chastain (Miss Sloane)
Ruth Negga (Loving)
Natalie Portman (Jackie)
Isabelle Huppert (Elle)
Best Performance by an Actor in a Motion Picture Drama
Casey Affleck (Manchester By The Sea)
Joel Edgerton (Loving)
Andrew Garfield (Hacksaw Ridge)
Viggo Mortensen (Captain Fantastic)
Denzel Washington (Fences)
Best Performance by an Actor in a Motion Picture Musical or Comedy
Colin Farrell (The Lobster)
Ryan Gosling (La La Land)
Hugh Grant (Florence Foster Jenkins)
Jonah Hill (War Dogs)
Ryan Reynolds (Deadpool)
Best Performance by an Actress in a Motion Picture Musical or Comedy
Annette Bening (20th Century Women)
Lily Collins (Rules Don’t Apply)
Hailee Steinfeld (The Edge of Seventeen)
Emma Stone (La La Land)
Meryl Streep (Florence Foster Jenkins)
Best Screenplay Motion Picture
La La Land
Manchester By The Sea
Hell or High Water
Best Original Song Motion Picture
“Can’t Stop The Feeling,” Trolls
“City of Stars,” La La Land
“How Far I’ll Go,” Moana
Best Motion Picture – Drama
Hell or High Water
Manchester By The Sea
Best Motion Picture – Musical or Comedy
20th Century Women
Florence Foster Jenkins
La La Land
Best Motion Picture – Animated
Kubo and the Two Strings
My Life as a Zucchini
Best Motion Picture – Foreign Language
Best Performance by an Actress in a Supporting Role in any Motion Picture
Viola Davis (Fences)
Naomie Harris (Moonlight)
Nicole Kidman (Lion)
Octavia Spencer (Hidden Figures)
Michelle Williams (Manchester by the Sea)
Best Performance by an Actor in a Supporting Role in any Motion Picture
Jeff Bridges (To Hell and High Water)
Simon Helberg (Florence Foster Jenkins)
Dev Patel (Lion)
Aaron Taylor-Johnson (Nocturnal Animals)
Mahershala Ali (Moonlight)
Best Director Motion Picture
Damien Chazelle (La La Land)
Tom Ford (Nocturnal Animals)
Mel Gibson (Hacksaw Ridge)
Barry Jenkins (Moonlight)
Kenneth Lonergan (Manchester By The Sea)
Best Original Score Motion Picture
La La Land
2017 GOLDEN GLOBE AWARDS NOMINATIONS – TELEVISION
Best Performance by an Actress in a Limited Series or Motion Picture Made for Television
Sarah Paulson, The People v. O.J. Simpson: American Crime Story (FX)
Felicity Huffman, American Crime (ABC)
Kerry Washington, Confirmation (HBO)
Riley Keough, The Girlfriend Experience (Starz)
Charlotte Rampling, London Spy (BBC America)
Best Performance by an Actor in a Limited Series or Motion Picture Made for Television
Courtney B. Vance, The People v. O.J. Simpson: American Crime Story (FX)
Riz Ahmed, The Night Of (HBO)
John Turturro, The Night Of (HBO)
Tom Hiddleston, The Night Manager (AMC)
Bryan Cranston, All the Way (HBO)
Best Performance by an Actress in a Television Series – Drama
Winona Ryder, Stranger Things (Netflix)
Claire Foy, The Crown (Netflix)
Evan Rachel Wood, Westworld (HBO)
Caitriona Balfe, Outlander (Starz)
Keri Russell, The Americans (FX)
Best Performance by an Actor in a Television Series – Drama
Rami Malek, Mr. Robot (USA)
Matthew Rhys, The Americans (FX)
Bob Odenkirk, Better Call Saul (AMC)
Billy Bob Thornton, Goliath (Amazon)
Liev Schreiber, Ray Donovan (Showtime)
Best Performance by an Actor in a Television Series – Musical or Comedy
Donald Glover, Atlanta (FX)
Gael Garcia Bernal, Mozart in the Jungle (Amazon)
Anthony Anderson, Black-ish (ABC)
Jeffrey Tambor, Transparent (Amazon)
Nick Nolte, Graves (Epix)
Best Performance by an Actress in a Television Series – Musical or Comedy
Julia Louis-Dreyfuss, Veep (HBO)
Issa Rae, Insecure (HBO)
Rachel Bloom, Crazy Ex-Girlfriend (CW)
Gina Rodriguez, Jane the Virgin (CW)
Tracee Ellis Ross, Black-ish (ABC)
Sarah Jessica Parker, Divorce (HBO)
Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture made for Television
Olivia Colman, The Night Manager (AMC)
Chrissy Metz, This Is Us (NBC)
Lena Headey, Game of Thrones (HBO)
Mandy Moore, This Is Us (NBC)
Thandie Newton, Westworld (HBO)
Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture made for Television
Sterling K. Brown, The People v. O.J. Simpson: American Crime Story (FX)
John Travolta, The People v. O.J. Simpson: American Crime Story (FX)
Hugh Laurie, The Night Manager (AMC)
John Lithgow, The Crown (Netflix)
Christian Slater, Mr. Robot (USA)
Best Television Limited Series or Motion Picture Made for Television
The People v. O.J. Simpson: American Crime Story (FX)
The Night Manager (AMC)
The Night Of (HBO)
The Dresser (Starz)
American Crime (ABC)
Best Television Series – Musical or Comedy
Mozart in the Jungle (Amazon)
Best Television Series – Drama
Game of Thrones (HBO)
Stranger Things (Netflix)
The Crown (Netflix)
This Is Us (NBC)
Broadway’s Harmony Sounds Great But Lacks Emotive Power
I don’t think I knew, going in, that Harmony, the new musical from book/lyric writer, Bruce Sussman (Ted Tally’s Coming Attractions) and music writer Barry Manilow now on Broadway at the Ethel Barrymore Theater, is based on a true story. But as it sings itself out to us, it starts by taking us back to the Carnegie Hall stage of 1933, but then shifts even further back to Berlin, Germany 1927, giving us a clearer picture of what might be coming at us. Panning out in tones not so subtle and utilizing the narrative structure of a standard memory play, a narrator, played by the endearing Chip Zien (Broadway’s original Baker in Sondheim/Lapine’s Into the Woods), stands forward, center stage, ushering us into the past and this story. His name, he tells us, is Rabbi, and he once was, back in the day, a member of a comedic singing group in Berlin made up of six young men who could harmonize and craft a joke like few others could. The group, ‘The Comedian Harmonists‘, was an internationally famous, all-male German close harmony ensemble that performed between 1928 and 1934. As one of the most successful musical groups in Europe before World War II, they steadfastly rose to fame and fortune as the Nazis came to power in Germany, and within that historic framework, the dye has been cast and the stage set.
Zien is most definitely an affable figure, one guaranteed to take us through this complicated and emotional story with expert ease, and we feel safe in his testimony. The elder Rabbi pulls us in, ushering us back to the first days of the group, and joining in with the fun whenever he can. It’s a tender beginning, and as directed and choreographed with energy by Warren Carlyle (Broadway’s After Midnight), we are forever cognizant of where this all will be heading. Zien quickly lets us into the framework, informing us that he is the only surviving member of this long-forgotten troop of singers, and he’s here to tell us their story so they won’t be forgotten. Noting the historical landscape, we can’t help but know where we are being delivered to, and it’s not all that shocking where we will end up.
With a group name that doesn’t exactly roll off the tongue, they come together with a joyful clarity, delivering the cool notes of a well-cast harmonic group. The crew of six, including a very good Matthew Mucha (CFRT’s Memphis)-an understudy for the absent Danny Kornfeld (Barrington’s Fiddler on the Roof) who usually plays the parallel part of Rabbi, younger and sweetly entwined with the other five; Sean Bell (HBO’s “Succession”) as Bobby; Zal Owen (Broadway’s The Band’s Visit) as Harry; Eric Peters (National tour: Motown the Musical) as Erich; Blake Roman (Paramount+’s “Blue Bloods”) as Chopin; and Steven Telsey (National tour: The Book of Mormon) as Lesh; come together neatly. They all fit into nicely categorized stereotypes that sing, make scene jokes, and travel the world entertaining their audiences with an ever-increasing amount of success, all under the watchful, but pseudo-approving eyes of the Nazis.
The six singers, all delicious and delightful to watch, deliver the goods solidly, even with songs that aren’t exactly memorable. But they sure look and sound good (and sometimes even great). No wonder they are seen as good public relations personas to the world, especially with their diversity, but as an audience member who knows what’s coming, it doesn’t sit so easily in the pit of our stomachs. The Nazis, as embodied by Andrew O’Shanick (“Pitch Perfect“) as Standartenführer – who claims to be a fan – don’t even seem to mind that a number of the group members, but not all, are in fact Jewish. This comes as a surprise, as most Jews and their equivalents were being robbed of their livelihood, their money, and their passports. But not these boys. Even when they push the boundaries of their PR protections outside of Germany, nothing happens, at least not right away.
The drama of the musical’s story is played out with conviction on a straightforward uncomplicated set by scenic designer Beowulf Boritt (Broadway’s New York, New York), with formula costuming by Linda Cho (Broadway’s Take Me Out) and Ricky Lurie (Gallery Players’ Godspell), inventive lighting by Jules Fisher + Peggy Eisenhauer (Broadway’s Gary), and a solid sound design by Dan Moses Schreier (Roundabout’s Trouble In Mind). It charges forward, but oddly, doesn’t hold us emotionally tight in its arms, running too long, and feeling soft-focused and sometimes generic in tone and form.
Can’t Wait For Boop To Come To Broadway
At the CIBC Theatre in Chicago, BOOP! The Musical, the new Broadway-bound musical extravaganza is making its debut . Actress Jasmine Amy Rogers is currently bringing her to life in Chicago, as she proves in this exciting song “Where I Wanna Be”.
The show is created by Tony Award®–winning director/choreographer Jerry Mitchell (Kinky Boots, La Cage aux Folles, Hairspray) who brings the Queen of the Animated Screen to the theater with celebrated multiple-time Grammy®-winning composer David Foster (“I Have Nothing,” “After the Love Is Gone,” “The Prayer”), Tony-nominated lyricist Susan Birkenhead (Working, Jelly’s Last Jam), and Tony-winning bookwriter Bob Martin (The Drowsy Chaperone, The Prom).
I am obsessed with the songs already. First was “Something To Shout About” and now “Where I Wanna Be”.
For almost a century, Betty Boop has won hearts and inspired fans around the world with her trademark looks, voice, and style. Now, in BOOP!, Betty’s dream of an ordinary day off from the super-celebrity in her black-and-white world leads to an extraordinary adventure of color, music, and love in New York City—one that reminds her and the world, “You are capable of amazing things.” Boop-oop-a-doop!
Ken Fallin’s Broadway: Michael Urie and Ethan Slater
With the holidays, my caricature of Spamalot is taking time, so I decided to highlight the two performers who for me stood out.
I have drawn Michael Urie several times, but I love this picture with him and my drawing of him in Buyer and Seller. Urie as Sir Robin, shows a new side of him that is truly funny.
Ethan Slater should have won a Tony for Sponge Bob Square Pants. My guess is he will be nominated again for his multiple roles in Spamalot.
Up next my caricature of Spamalot
Spamalot Gives Them The Olde Razzle Dazzle
Somehow I missed the original Monty Python’s Spamalot, based on the 1975 film “Monty Python and the Holy Grail” that played 18 years ago. So seeing this production at the St. James Theatre was fresh for me.
This show which runs over 2 1/2 hours is jammed packed with frat boy jokes, an uber talented cast and lots of razzle dazzle by director/ choreographer Josh Rhodes.
Satirizing the Arthurian legend, written by Eric Idle with music and lyrics by Idle and John Du Prez. The plot follows King Arthur (James Monroe Iglehart), as he is searching the kingdom for his Knights of the Round Table with his trusty sidekick Patsy (Christopher Fitzgerald). This is much like Don Quixote and Sancho, without those glorious songs. Instead we get “Look On The Bright Side Of Life.”
Arthur recruits Sir Bedevere the Wise (Jimmy Smagula), Sir Lancelot the handsome and incredibly violent (Taran Killam), Sir Galahad the Pure (Nik Walker) and Sir Robin the Not-Quite-So-Brave (Michael Urie). Arthur leads the knights to Camelot, but, after a Las Vegas Style review, he changes his mind, deeming it “a silly,” and they go off to find the Holy Grail.
In the meantime the Lady of the Lake (Leslie Rodriguez Kritzer) is rather peeved that her role has been cut. Kritzer tears down the house and the scenery with her vocal pyrotechnics and her attitude. She almost steals the show.
Ethan Slater plays the historian, not dead Fred, a baby, a nun, a mine and a minstrel, as well as wimpy Prince Herbert, and a demonic killer bunny. To each of these roles, he is like a chameleon and morphs into a comedic clown. He is truly funny.
Michael Urie, as Sir Robin, is hilarious and has the politically incorrect number “You Won’t Succeed On Broadway,” (if you don’t have any Jews). I am seriously surprised it has not been pulled considering parodies seem to be no longer appropriate.
Paul Tate dePoo III’s set is serviceable, but the projections are fabulous.
Many will like this show and if I had watched their performance on the Macy’s Thanksgiving Day Parade, I too would be buying tickets.
Monty Python’s Spamalot: St. James Theatre, 246 W 44th Street.
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