Connect with us

Events

Cultural Icon/Singer/Actor/Writer Jane Birkin Present A One-Time Concert — Gainsbourg The Symphonic

Published

on

Interview and polaroids by Brad Balfour

Jane Birkin & Guests — Iggy Pop and Charlotte Gainsbourg
Gainsbourg The Symphonic Live
the Beacon Theatre
New York, NY
Friday, March 6

In the mid-’70s, a French song, “Je t’aime moi non plus,” came out that stirred both controversy and accolades as well as becoming an international pop hit — even getting considerable American airplay in the very uptight 1970s  USA. As sung by Jane Birkin, with her hushed, breathy, half-whispered vocals, it prompted explicit sexual fantasies — just as Serge Gainsbourg, its creator, and her lover, intended.

The late Jewish singer, songwriter, pianist, film composer, poet, painter, screenwriter, writer, actor and director has been regarded as modern France’s  most important pop music figure, renowned for often provocative and scandalous releases which caused uproar everywhere, often dividing public opinion. His diverse output — he wrote over 550 songs, many of which have been covered more than 1,000 times — range from jazz, chanson, and yé-yé to  efforts in rock, funk, reggae, and electronica. Though his varied but individualistic compositions made him hard to categorize, his legacy has been enshrined and he’s become one of the world’s most influential musicians. His lyrics incorporated wordplay, with humorous, bizarre, provocative, sexual, satirical or subversive overtones, prompting critics to regard Gainsbourg and a French literary treasure.

In ’69, the 20 year old met the 40-something Gainsbourg while co-starring with him in Slogan, which marked the beginning of years-long working and personal relationship. The duo released their debutJane Birkin/Serge Gainsbourg in 1969, and Birkin also appeared in the controversial film Je t’aime moi non plus (1976) under Gainsbourg’s direction.

Their story was little bit romantic, a little bit tragic. It contained lots of drama and emotion — and it made a huge impact on both their lives.Though they parted ways –she separated from Gainsbourg in 1980 — Birkin continued working as both actress, singer, and writer, appearing in indie films and recording numerous solo albums. But her time with Serge was always present in her life.

Since his surprising death from a second heart attack in 1991, Gainsbourg’s attained legendary status, and is regarded as one of France’s greatest musician and an endeared national figure. He has also gained a cult following in the English-speaking world with chart success throughout the United Kingdom and the USA (something no other Francophone artist has managed) with “Je t’aime… moi non plus” and “Bonnie and Clyde” respectively.

The 70-something Birkin now comes to New York’s Beacon Theatre to pay tribute to her late husband with “Birkin Gainsbourg The Symphonic” on Friday, March 6th at 8 pm. Birkin will be joined by rock legend  Iggy Pop and actress/daughter Charlotte Gainsbourg.

Arranged by Emmy Award-winner Nobuyuki Nakajima with by Philippe Lerichomme’ artistic direction, the concert offers symphonic versions of classic Gainsbourg songs ranging from his career beginnings in the ’50s to those written especially for Birkin, such as “Jane B” and “Baby Alone in Babylone” — penned after the legendary couple’s separation.

I’m glad that I, at least, got a chance to spend two days with him. I had gone to Paris and started working for Metal Hurlant. I was sent to interview Serge. When I came to the house, he showed me everything there and then we went out to his studio.  He took me to Le Palace to see Ingrid Cavan perform and then to Elysee Matinot for a late dinner with a film producer, fashion designer and actress. When I came back I visited him a second time. I wish I had written more about him, but I’m hoping through this conversation I’ll be able to do so.

Born December 14th, 1946, Jane Mallory Birkin, OBE achieved international fame in part due to her decade-long musical and romantic partnership with Serge Gainsbourg. She also had a prolific career as an actress in British and French cinema. This London native first achieved notoriety thanks to Michelangelo Antonioni’s 1966 thriller “Blowup” where Birkin has a minor but surprising scene in which she plays a model who romps topless with photographer Terence Stamp. Birkin would establish acting credits in Antonioni’s Kaleidoscope, as well as Agatha Christie’s films Death on the Nile (1978), and Evil Under the Sun (1982).

In 1991, she appeared in the Red Fox miniseries and in an American drama, A Soldier’s Daughter Never Cries, in 1998. After she starred in  2016’s Oscar-nominated short La femme et le TGV, she said, at the time, it would be her final film.

Birkin has lived mainly in France since the ’70s raising her children; she’s been mother to late photographer Kate Barry (d. 2013), with her first husband John Barry; actress and singer Charlotte Gainsbourg, with Serge; and model Lou Doillon, with Jacques Doillon. Additionally, she lent her name to the popular Hermès Birkin bag. Over a week ago, Birkin spoke about her life shortly before making to NYC for this show.

T2C: Are you surprised at how you’ve become an icon? On the internet, people are always posting your photos. Do you think of yourself as an icon?

Jane Birkin: No, of course not. It’s quite funny. I’m going to a show tonight with Celine and she looks exactly like I looked when I was 20, so it’s pretty sweet. I never think of myself that way. And then seeing some of them, what I see every day, it’s very sweet of people to think of you at all.

T2C: How do you manage these persona?

JB: Well, I’m not sure. I’m doing a film in May, June, and July. And I’ve got a new record coming out with it; I wrote the lyrics and music. I’ve done the Philharmonic ones in nearly three years and we go to Moscow and then I’ll finish it off with my daughter Lou. I will have done nearly three years with Philharmonic. So I’ve been lucky to have ideas cause I’ve found Nobuyuki Nakajima– the orchestrator who’s Japanese. When I went to Japan, they had the tsunami, and I wanted to go there and do a kick-off to cheer people up. I met him and he was a composer and I thought, well, if I do it in a Philharmonic way with the orchestra… He writes movie music; I’ve always rather loved movie music, then I knew it wouldn’t be boring and he’d find a place for my voice somewhere. And he did. It’s a magical thing that he’s managed to do.

T2C: Is there a thread running through them all that’s very Jane Birkin; how would you describe that?

JB: I brought out my diary and some people are surprised because they’re very honest. If I was frightened of anything, it was that people would be disappointed in me and that I wasn’t a courageous or good person that I wanted to be in it. In the diary it shows, but those diaries are coming out in Russian, Spanish and in Italian and German. Really who would have thought  that this little girl turned into somebody who kept going for so long. And so in Quebec, I’ll be reading the diaries and then I’ll come over to New York and seeing the Philharmonic and just hope.

T2C: Why do you think it works so well?

JB: It’s probably emotional because I’m really singing Serge’s point of view, his pain, his distress, all the beautiful things that he moved in me when I left him. It’s another part of the history really and just a new way of presenting things. A way of doing songs and also the one concert you saw, which was  with Jamille and the North African group and funny, because they were very particular, they seem to travel very well. So I had a good year for knowing the best people to work with. I think that’s probably my good luck.

T2C: Do you find yourself relating first to the lyrics and then the music or theother way around?

JB: I know them all for so long now — these songs I’ve been singing, some of them for over 50 years, but, with this new way of doing it, this is the best way I’ve ever done it. I think you can understand the words when you listen to them even though it’s sort of a Philharmonic orchestra, but sometimes I can’t get over the the beauty of the songs he wrote and just find it so odd that they were never in English and others did versions of them because he’s probably just the greatest writer. People have come to miss him an awful lot because of the extravagance of his personality and realizing not too late, but even so quite late, the immaculate writer he was. I was just lucky to have him from when I was 20 years old until the day he died.

T2C: Some people think of Serge and Leonard Cohen as having a similar emotional connection. Who do you feel Serge was most connected to? Some others think of him as the French Bob Dylan. What do you think of that association; he really has shaped a lot of other people?

JB: He’s influenced the French way of writing since he started. He was a different way of writing, was a different way in rhyming so for the French, he did all that. The ideas of melody, the notes and the ideas that no one ever had done before, doing a whole album on a story that had a beginning and the dramatic end. He’s as great a writer as Dylan and Cohen. Of course, she has the same melancholia that you can feel with them as well. He was such a funny mixture of being Russian, Jewish, terribly dramatic, and funny, always longing to tell the latest Jewish joke or the latest Belgian joke that he had written down in the pocket book, always longing to play a tune on the piano that would move you. Then he would start crying. And yet he was just the funniest man.

I don’t know if it the other two people you mentioned were quite as surprising in real life but he was the most amazingly charming, funny, and kind man, so I don’t know whether there are many artists who you can say that about. As to his sort of genius side, he was always ahead of his time. It was just lucky that people realized how great he was  in time. He was only 63 when he died, but I think he knew that he was about the most popular man in France and he had a complicated beginning with his looks and everything. But at the end, I think he realized that he was the most loved man in France.Thank God. He had just enough time for that.

T2C: What’s it like working with your daughter — you did a film together, right?

JB: She was in Jane V and Kung Fu Master with me. My other daughter, Lou, who was about four is in it as well. She sang once with me on the concert that I did. So it was fun to be with her and Iggy Pop who was really very sweet, I can’t wait to be with them.

T2C: Is this the first gig you’re doing with Iggy and Charlotte together or you’ve done it with Charlotte but not [with Iggy]?

JB: No, no. It’s the only time.

T2C: I can’t wait to see it. I’ve seen you do your music at Alliance Francais a few years ago. And you did that show before, Arabesque, with the middle Eastern Arabic stuff. You cover this sort of global expanse of sound — do you feel that  each style touches on different aspects of you?

JB: I don’t really know that. I realized at the end of this concert that says, had given me a sort of comedy music gallery for one person and there were funny songs and sad songs and with the scopes that, uh, nobody who could make Iijima it’s, we have often with the voice from the piano before the whole 60 piece orchestra comes in. It’s just a fabulous feeling like flying and I watched the shift or Charisse and you have to be pretty careful about not tripping yourself up. If you make a mistake with the 60 people that are not gonna follow me, I’ve got to follow them. So, it’s a journey I did slowly, you always think it’s good to be the last time you do it.

T2C: There’s that other side of you, the visual side. Your scene in Blow Up, it was a very unconscious, very natural thing. Then you developed a fashion identify, the Birkin bag and the modeling — you got identified as a fashion icon. Were you conscious or unconscious of it? Did you realize that you had such a visual presence; did it affect you in giving you another medium to play in?

JB: I had absolutely no idea. The only thing I probably didn’t have was this sort of arrogance of coming into this in the 60s and therefore wearing short skirts and my basket and sort of thinking that whatever we did was right, ’cause I mean that’s the way we wanted to do it. So that was by the fact of being English, and a little bit more daring than the French were. Especially at 20 years old and when all the fashion is in England. Everything was happening in England, the fashion and the music. I mean when I popped over from England, we were in a fairly good place in England. So probably that had something to do with it, just wearing the things that I wanted. And if I didn’t think they would put it the right way around, then I turned the wrong way. In all this I was egged on by Serge’s gospel who thought it was all great.

In those days we weren’t icons of any kind. But I didn’t get to anything free from anybody. It was just great fun. We picked up things that we thought were fun and I found things that I thought Sarge would look great in and I found his body pumps so he didn’t have to wear uncomfortable shoes and jewelry around his neck and his blazer and jeans and that. And suddenly it’s become everybody’s fashion to look like that. But it was, he who started it,

T2C: How did you meet Iggy Pop — another pop culture icon? How did you become friends with Iggy?

JB: I wasn’t friends with Iggy, he just seemed to be the most fantastic performer that I could possibly ask for. And when I did ask if he’d be free then, I was astonished that he knew Sarge’s work so terribly well and was so modest and sweet and willing to come on this adventure with me. But I didn’t know him at all. Anyone who’s worked with him said that he was such a lovely person to work with, so I mean, he’s got the reputation of being a sweetheart and very loved by the people that I love. I’m sure it’ll be fun to meet him.

T2C: When will Charlotte’s documentary be done?

JB: I’m just doing it little by little frankly. We did a couple of days in New York and we did a couple of days in Tokyo and so it’s probably take years, I hope so. And then it’s worth looking up someone who is, when I started writing my own record just now, I remember to close the person who was absolutely wonderful and worth looking up is, is my brother’s son called Ano Birkin and he was in a group called Kicks Joy Darkness and they all got killed in Milan in 2001 but his words, which you can find on the internet are just wonderful. Perhaps the most beautiful modern poetry that I know.

T2C: This is the one show you’re going to do of this. And then you’re going to come back and you’ve got your album to finish.

JB: I finished all the words and all the singing, but we’ve got to do the quotes in Abbey Road and then do the rest next week and then it’ll be the Children’s Chorale and things like that. But it’ll be finished by May. Then I start the film May, June, July, and then the record comes out in September. So I have my work cut out [for me]. It’ll be quite nice.

T2C: And in the middle of all this, Charlotte’s shooting the documentary?

JB: She’s just doing a couple of days in New York.

T2C: Oh, I see. Any books from you as well? Or is it’s pretty much the recording?

JB: Well, the last two books I’ve just brought out and the first volume is coming out in England at the end of September, and in France both volumes have come out, so I’ve been wandering around promoting that and doing readings and things.

Celebrity

The Glorious Corner

Published

on

G.H. Harding

YOUNG’S 12 — (via Ultimate Classic Rock) Since he began making records in the 60’s, Neil Young has seldom let a year or two pass between albums. Even as the last LP by Buffalo Springfield was being prepped for release, the Canadian singer-songwriter was making his self-titled solo debut, which came out just a few months later.

Young has never been reluctant to follow his creative muse, even if he’s in the middle of another project. More than one time during his career he’s shelved a project just to move on to something else. Sometimes – as in the case of Homegrown and Chrome Dreams – those records would be released at a later (sometimes much later) date; in other instances, we’re still waiting.

All this productivity and activity can lead to periods of inconsistency, as you’ll see in the below list of the 12 Worst Neil Young Albums. One era in particular stands out: the ’80s (spoiler: Six successive albums during the decade make the list). But LPs from the ’60s, ’70s, ’90s and the ’00s are here, too.When you’re as prolific as Young, they can’t all be After the Gold Rush and Harvest. Even when the records didn’t reach his usual standards, most of them still found new ways to continue on the restless path he started in the mid-’60s. From synth-pop and traditional country to ’50 rock ‘n’ roll and horn-spotted soul, Young’s instincts rarely took him to expected destinations.

Are You Passionate?’ (2002)

Young’s 24th album was supposed to be another Crazy Horse collaboration, Toast, which didn’t get released until 2022. Instead, he pivoted to a record with Booker T. & the MG’s that was billed as a soul album and included Young’s response to 9/11, “Let’s Roll.” One of the shelved Crazy Horse tracks is included, and it concludes with a nine-minute jam. Scant direction and thin songs sink Are You Passionate?

‘Peace Trail’ (2016)

Young’s 36th studio LP was sandwiched between a live album with Promise of the Real and a solo archival release recorded in 1976. Both are preferable to this quickly assembled record made with drummer Jim Keltner and bassist Paul Bushnell. Its political points are similar to the ones he’d been supporting since the ’60s, but now with a technological lean (there’s even some Auto-Tune on a track). Instantly disposable.

‘Storytone’ (2014)

The second of two albums released by Young in 2014 (the first was the solo acoustic A Letter Home), Storytone featured big band and orchestral backings to songs inspired by a new romance with actress Daryl Hannah. Forgettable and uncertain – swing and classical don’t mix all that well – the album arrived during a period of prolific activity. An equally unmemorable stripped-down version of the album was released at the same time.

‘Old Ways’ (1985)

Young’s country album Old Ways was first proposed after 1983’s Trans, the synth-based LP he delivered to Geffen. The label balked and insisted on a rock album instead; they got the 1950s throwback Everybody’s Rockin’. Young returned to his country album in 1985, enlisting Waylon Jennings, Willie Nelson and fiddle and pedal steel musicians. Another unremarkable genre detour during Young’s most dour decade.

‘Everybody’s Rockin” (1983)

Young’s second Geffen LP was as baffling as the first. But where Trans moved forward, Everybody’s Rockin’ was a throwback to 1950s rockabilly, complete with a retro look (pompadour, face-dominating sideburns) and name (Neil and the Shocking Pinks). Four songs were covers; an original (“Wonderin'”) dated to 1970. It runs less than 25 minutes. Geffen soon sued Young for making deliberately uncommercial records.

‘Landing on Water’ (1986)

Three genre-specific albums left Young at odds with Geffen Records in the mid-’80s to the point where the label sued him for making records that didn’t sound like Neil Young records. Landing on Water was his return (albeit once again stitched together from years-old sessions) to fuss-free rock music. Good luck finding a memorable song, though. Even Young has referred to Landing on Water as a “piece of crap.”

‘Broken Arrow’ (1996)

After 1989’s career-reviving Freedom, Neil Young had an admirable run in the first half of the ’90s. Then Broken Arrow arrived. Shaken by the death of longtime producer David Briggs, Young and Crazy Horse falteringly recorded the LP over a month, often with no guidance or direction (the first three songs each run more than seven minutes and are little more than aimless jams). An unsteady new era was around the corner.

‘This Note’s for You’ (1988)

After a contentious five-album run with Geffen, Young returned to Reprise for his 16th LP. But he still wasn’t ready to discard the ’80s explorations that marked the decade. The flimsy This Note’s for You, co-credited to the Bluenotes (a horn-based group with other ties to Young’s past), dipped into jump blues music while adhering to a slim conceptual thread about commercialism. At least it contained a minor hit in the title track.

‘Life’ (1987)

Neil Young made five albums with Geffen in the ’80s, none of them particularly good. But at least most of them have some sort of identifiable tag: synth-pop, rockabilly, country. Life has nothing to single it out. Mostly recorded live with overdubs added later, the Crazy Horse collaboration ended Young’s controversial relationship with Geffen on a sour, but expected, note. Maybe the most easily dismissed LP in his entire catalog.

‘Trans’ (1982)

After more than two dozen years with Reprise Records, Neil Young jumped to the flourishing Geffen label for his 12th album. Nobody expected his first record under the new contract to be a futuristic new-wave LP made with synths and a vocoder altering Young’s voice – especially the label. Young has said he made Trans to communicate with his son, who had cerebral palsy. A year later Geffen filed a lawsuit.

‘American Stars ‘n Bars’ (1977)

Neil Young’s catalog is scattered with albums stitched together from various session sources. For his eighth LP, he collected nine songs recorded over a two-and-a-half-year period, starting in 1974. The results were mixed. The stripped-back country rock made with Crazy Horse on Side One has little connection to the plugged-in fury of “Like a Hurricane,” a mid-decade highlight, and the solo acoustic “Will to Love.” Aimless.

‘Neil Young’ (1968)

Young’s solo debut isn’t terrible, it’s just a letdown after the buzz he generated with Buffalo Springfield. Only a handful of songs (including “The Loner,” fleshed out onstage over the years) make an impression; the rest finds the still-growing singer-songwriter tentatively stepping away from his former band while occasionally tethered to their era-identified folk rock. Better things were to come.

SHORT TAKES — On Wednesday’s Today Show, Carson Daly revealed his first concert ever was Ziggy Marley. And as he and a friend took their seats, it seemed to Daly as if smoke rose from the stage. Daly’s friend said it was happy smoke

Leah McSweeney

I never heard of Leah McSweeney (another Bravo Housewife), but Tuesday she filed a lawsuit against Andy Cohen. More lurid details for sure. Is Andy this year’s Harvey? I’ll tell you, between Cohen, Puffy and the gals … it’s a huge, huge mess and heads will definitely roll at NBC/Comcast. Stay tuned … Yankee-Bernie Williams is at the Carlyle?

I haven’t heard his music, but this reminds me of Knick-Earl Monroe years back introducing his Pretty Pearl Records. I honestly don’t even remember the artists, but the project came and went pretty quick … Debbie Gibson on the 80’s Cruise with Wang Chung; Escape Club; English Beat; Soft Cell; Air Supply; Ray Parker; Animotion; and Tommy Tutone. Check it out here: https://the80scruise.com/lineup/

Richard Lewis photo by Stephen Sorokoff

So sad about Richard Lewis. He used to be a very, very frequent companion to me back in the day at Lorelei on West 58th street. He was always so funny and sweet. A true companion for the naughty 90’s. He’ll be much missed …

Kjersti Long

Zach Martin interviews 17-old wunderkind Kjersti Long on his NEW HD radio today …  Felix Cavaliere and The Rascals at the Patchogue Theater on April 26 and SONY Hall on May 17th … Happy BDay Zach Lloyd; Mitch Ryder; Roy Trakin; and Judy Libow!

Debbie Gibson

NAMES IN THE NEWS — Jacqueline Boyd; Nancy Harrison; Tom & Lisa Cuddy; Jim Kerr; Debbie Gibson; Heather Moore; Roger Friedman; Mark Bego; Melinda Newman; Joe Lynch; Obi Steinman; Felix Cavaliere; Amanda Naylor; Tolouse Bean; Howard Jones; Mark Alpert; Donald Johnson Kyla Nicole; Angela Tarantino;n Barry Fisch; and SADIE!

Continue Reading

Events

Eli Marcus Brings His Networking Event to Fushimi Times Square

Published

on

Eli Marcus, Chief Marketing Officer of NYC’s largest circulation Visitor Magazine, City Guide, has done it again. On February 28th he organized a wonderful networking event for those in the hospitality and theater communities. And true to form he did so in a beautiful new restaurant on West 43rd Street off 8th Avenue – in the heart of Times Square. Fushimi Times Square is the latest outlet for the Japanese group who has had success in Staten Island, Bay Ridge and Williamsburg. Their restaurant at 311 West 43rd Street is a welcome entry to the area and now that the scaffolding is gone from that block it is a pleasant walk to the welcoming door of this beautiful space.

Fushimi Beautiful decorations

The decor has a beautiful sculpture of a fish hanging from the ceiling which depicts the delicious selections of sushi and sashimi prepared by the talented chefs.

The talented chefs are in view as they create these delicacies.

Guests at the evenings event were served appetizers of amazing tuna tartare and a variety of warm dishes of dumplings, and eggrolls – pork, shrimp and vegetarian.

Tuna tartare is a burst of flavor

Dumplings and Eggrolls were served

Barry Huang, manager of Fushimi Times Square is a silhouette in the long entry way to this beautifully designed restaurant.

Eli and Ramon

Eli invited some interesting people to the event. Publicist to megastars, Ramon Hervey II, has an interesting podcast  and is the author of The Fame Game.

Eli and Hugh Hysell

Hugh Hysell is a major force in the New York social circles and it was great to see him at the event.

Errol, Quinn and Eli

Errol Rappaport, promoter, and singer, actress, Quinn Lemley, who just returned from London where she performed her one woman show about Rita Hayworth joined Eli at the event.

Rocksax gave out merch to lucky winners

Rocksax, purveyor of officially licensed music merchandise was in attendance and gave out some of their product to some lucky attendees.

The beautiful bar

In addition to the wonderful food, Fushimi’s beautiful bar is a welcome spot to relax.

The crowd

As usual the attendees had an excellent time meeting, chatting and enjoying the food

Barry and Eli

Eli looks on as the Fushimi manager, Barry Huang thanks the guests for coming

Barry and the DJ

Barry and the DJ kept the food, drinks and music going through the event

I look forward to returning to Fushimi at 311 West 43rd Street for a full dinner of their excellent visionary Japanese-fusion dishes.

Continue Reading

Broadway

Grand Hotel: The 35th Anniversary Original Broadway Cast Reunion Concert at 54 Below

Published

on

Grand Hotel original cast members Karen Akers, Timothy Jerome, Bob Stillman, David Jackson, David Andrew White, and Walter Willison, reunited last night at 54 Below. Even original bass player Ray Kilday was there.

Tim Jerome

The fabulous David Jackson, David White

54 Below was transformed into Berlin’s Grand Hotel for the event. The staging was immersive as Walter Willison, introduced, directed and produced. The choreography (originally done by Broadway legend Tommy Tune, was there celebrating his 85th birthday on Monday night).

Two tango dancers (Michael Choi and Vanda Polakova), circled the room making their way to the stage for “I Waltz Alone.” The concert featured choreography by Michael Notardonato, who also served as associate director.

Bob Stillman Jennifer Bassey Davis

Ken Jennings

Willison, who also played Colonel Doctor Otternschlag) kept Maury Yeston’s entire glorious score. “I Want to Go to Hollywood” for example. That number was skillfully sung by Susan Wood Duncan, who played Flaemmchen in the touring cast.

Bob Stillman

Walter Willison

Ken Jennings stepped in as Otto Kringelein, leading the company in a moving “We’ll Take a Glass Together!” was sung in the bar area.

Diane J. Findlay

A highlight was Diane J. Findlay

Karen Akers

Jennifer Bassey Davis as Elizaveta Grushinskaya, and Akers as Rafaella, were haunting.

Susie McCollum

Harper Lee Andrews and Susie McCollum played the roles their mothers originated.

The cast

On Monday Happy Birthday closed the show to a reprise of “We’ll Take a Glass Together” and thus they did.

Continue Reading

Entertainment

Live From The Hotel Edison Times Square Chronicles Presents Maury Yeston and Victoria Clark Rescheduled

Published

on

I am so pleased to announce that on March 13th we are rescheduling our interview with are two time Tony winner Maury Yeston and two time Tony winner Victoria Clark.

“Live From The Hotel Edison Times Square Chronicles Presents ”, is a new show that is filmed live every Wednesday from 5 – 6 in the lobby of the iconic Hotel Edison, before a live audience. To see our first episode click here second episode click here and for our third episode click here.

Hope you can join us for what will be one fabulous musical night.

Continue Reading

Events

A Look At The Vineyard Theatre’s Starry Gala

Published

on

Photo Patti LuPone and Jesse Tyler Ferguson© Bruce Glikas @bruglikas@broadwaybruce_

Here are photos from the Vineyard Theatre’s 2024 Annual Gala honoring Tony Award-winning actor Jesse Tyler Ferguson (Take Me Out) held Monday, February 26, 2024, at the Edison Ballroom, the festive evening included performances by Sara Bareilles with Rosie’s Theatre Kids, Patti LuPone, Lea DeLaria, Celia Keenan-Bolger and more. Sarah Saltzberg served as host and Hiram Delgado, Bill Heck, Ken Marks, Michael Oberholtzer and Eduardo Ramos paid hilarious tribute to their Take Me Out co-star.

Jesse Tyler Ferguson at Vineyard Theatre 2024 Gala © Bruce Glikas @bruglikas @broadwaybruce_

Jesse Tyler Ferguson and Chelsea Clinton at Vineyard Theatre 2024 Gala © Bruce Glikas @bruglikas @broadwaybruce_

Also attendance to support were Chelsea Clinton, Kevin Cahoon, Crystal Dickinson, Brandon J. Dirden, Brandon Victor Dixon, Renata Friedman, Montego Glover, Michael R. Jackson, Haskell King, Christine Lahti, John Lavelle, Luke Macfarlane, Justin Mikita, Deirdre O’Connell, Hadi Tabbal and Rolanda Watts.

Celia Keenan-Bolger, Marc Mezvinsky, Chelsea Clinton, Sara Bareilles, Kevin Cahoon, Jesse Tyler Ferguson, and Lea DeLaria © Bruce Glikas @bruglikas @broadwaybruce_

Jesse Tyler Ferguson, Christopher Shinn, Emily Bergl and Luke Macfarlane © Bruce Glikas @bruglikas @broadwaybruce_

Celebratory toasts were also given to Rosemarie Bray, Educator at Union Square Academy of Health Sciences and Christina Poon, General Manager of W Hotel – New York – Union Square. The Gala will be

Montego Glover, Celia Keenan-Bolger and Sara Bareilles © Bruce Glikas @bruglikas @broadwaybruce_

The Gala was co-directed by Leigh Silverman (Suffs, Harry Clarke, Sandra) and Colin Hanlon (DOT, “Modern Family”) with musical direction by Vadim Feichtner (Spelling Bee, Falsettos, New Brain).

Sara Bareilles and Rosie’s Theatre Kids © Bruce Glikas @bruglikas @broadwaybruce_

The Gala host committee includes the Patrick J. Adams, Blavatnik Family Foundation, John Barrie and Betsy Smith, Kathleen and Henry Chalfant, Ken and Rande Greiner, Mark Lerner and Steven Frank, Padma Lakshmi, Sue Marks, Justin Mikita, David J. Schwartz andTrudy Zohn, Annette Stover and Richard Feiner and Julia Vitullo-Martin. Under the artistic leadership of Douglas Aibel and Sarah Stern, Vineyard Theatre develops and produces new plays and musicals that push the boundaries of what theatre can be and do. For over 40 years, The Vineyard has nurtured a community of fearless theatre makers whose work has expanded the form, the field, and the larger culture. Vineyard Theatre has transferred eleven shows to Broadway, seven directly after their acclaimed Vineyard premieres: Lucas Hnath’s Dana H. and Tina Satter’s Is This A Room (both New York Times Best Theatre of 2021); Paula Vogel’s Indecent; Nicky Silver’s The Lyons; Kander, Ebb and Thompson’s The Scottsboro Boys; Bell and Bowen’s [title of show]; and Avenue Q by Marx, Lopez and Whitty (Tony Award, Best Musical). In recent years, four additional shows launched at The Vineyard have been revived in their first Broadway productions: Paula Vogel’s Pulitzer Prize-winning How I Learned to Drive; Lanie Robertson’s Lady Day at Emerson’s Bar And Grill; Becky Mode’s Fully Committed; and Edward Albee’s Pulitzer Prize-winning Three Tall Women. From our home in NYC’s Union Square, The Vineyard develops and premieres new plays and musicals which go on to be seen around the country and the world. Recently, Jeremy O. Harris’ play “Daddy” (2019) received its London premiere at the Almeida; Ngozi Anyanwu’s Good Grief (2018) and David Cale’s Harry Clarke (2017) were recorded by Audible; Branden Jacobs-Jenkins’ Gloria (2014), a finali st for the Pulitzer Prize, transferred to Chicago’s Goodman Theatre; Paula Vogel’s Tony Award-winning Indecent (2016) aired on PBS’s “Great Performances” and was one of the most-produced plays nationwide in 2019; and Oscar Nominee Colman Domingo’s Dot (2016) is being adapted into an AMC series. The Vineyard’s first major digital work, Lessons in Survival, was named one of the top theatrical experiences of 2020 by the New York Times and has been viewed by audiences in more than 40 countries. The Vineyard’s Paula Vogel Playwriting Award, Susan Stroman Directing Award, and Colman Domingo Award provide residencies to early-career artists and our education programs serve over 700 New York City public high school students annually, culminating in Developing Artists’ REBEL VERSES Youth Arts Festival. The Roth-Vogel New Play Commission is awarded annually to a mid to late-career playwright to create and develop a new play with The Vineyard. Our work and artists have been honored with numerous awards including Pulitzer Prizes and Tony Awards, and the company is proud to be the recipient of special Drama Desk, Obie, and Lucille Lortel Awards for artistic excellence and support of artists. 

Continue Reading

Trending

Copyright © 2023 Times Square Chronicles

Times Square Chronicles