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David Kramer Presents Jimi Hendrix – The Documentary/ The Review

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by John Muller ( Blue Notes and Conversations)

 “There’s so much misinformation out there in movies, documentaries and the internet, it’s as if there’s a deliberate campaign of disinformation to mislead in an attempt to rewrite history” says David Kramer. “The Hendrix-story has taken on urban myth-like proportions – stories abound that many people believe to be true but largely are not.”

I had the good fortune of seeing Emmy-Award winner David Kramer’s truly remarkable “Jimi Hendrix – The Documentary” at the Nyack International Film Festival. Hard for me to believe that the sensational 2-hour film that we were able to view is part of a much larger, even more extensive 12-plus hour, multi-part series covering the life and times of Jimi Hendrix. This is unauthorized, and that point was made by David at the screening on Saturday night, the Hendrix Estate legally trying to suppress the entire series, so far, thankfully unsuccessfully. It is a truly incredible slice of history, an amazing look into the life of Jimi Hendrix, without the hype and the canonization, without the beatification, leaving the legend behind so we get a deeper and closer look at the man himself. No bullshit – just the truth from those who knew him, performed with him, and were close to him.

Kramer has spent the last 30 years, with a small team, pulling together, unearthing, discovering hours of unseen Jimi Hendrix footage, well over 400 on-camera interviews, music clips and celebrating Jimi Hendrix – his joy, his humor, the tragedy, the mystery and all that surrounded Jim’s life and music.

I was fascinated by the segments presented on the screen, details many of which were unknown to me, a Jimi fan for decades. From the days when the Isley brothers auditioned an up and coming guitar player in the early 1960’s he already had quite a reputation for his unorthodox style of guitar work – left handed and upside down – onto the times Jimi spent living with the Isley Family in Teaneck, New Jersey; his performance at the Paterson Armory that had fellow musicians thunderstruck and amazed and the fans crazed with delight; his early days performing, including  a date with the Isley’s in West Nyack, New York at a battle-of-the-bands held outside on a flatbed truck. Those acid-dripping and alcohol-fueled performances at the legendary nightclub: The Scene, located in the basement of 301 West 46th Street where bands like The Animals, the Who, Young Rascals, Fleetwood Mac, Jeff Beck, Traffic, Muddy Waters, The Lovin’ Spoonful, and Led Zeppelin, all performed nightly where jam sessions always followed. Jimi regularly jamming into the wee hours of the morning with folks like Janis Joplin, Stephen Stills, Jim Morrison. On one particularly wild night Morrison was deep into drugs and alcohol, his performance with Jimi incoherent as Morrison screamed into the mic, going so far as to try to sexually seduce Jimi on stage with bouncers dragging him out of the club, as Morrison continuing to howl like a banshee on the mic as he was dragged outside.

Hendrix jamming with anyone, Johhny Winter among so many others mentioned in the film, and everyone who was lucky enough to make it inside the cramped and packed basement club on any given night of the week. Seemed like everyone wanted to outperform Jimi up on that dimly lit stage – and both the interview with, and video of Larry Coryell and Hendrix really illuminates the rivalry that many felt. The interviews with musicians who were there, those who performed with Hendrix, managers, friends and musicians, give a real keen insight into the real-life Jimi Hendrix, tossing aside the myths and the halo. He was a quiet, unassuming guy, who loved to perform, thrilled to play his guitar and have fun on that small basement stage, drinking his red wine, blending into the crazy scene of hangers-ons, groupies, friends, musicians, managers, cultural icons and lovers.

Sitting there watching the documentary I was transfixed by the interviews, by the footage and details from the “Isle of Wight” concert, the mysterious gentlemen who surrounded Jimi just before he was found dead in London, the reminiscences that were carefully compiled, interviews that came straight from the heart from so many who knew Jimi, performed with him, hung out with him, slept with him, and deeply cared about him – and many who were very worried about so many strange events that were part of Jimi’s life towards the end of his life.  The details about “The Monkees Party ” where Jimi was rescued by John Sebastian, a good friend, the infamous opening night party held at Electric Lady Studios where Japanese food was served spiked with acid unbeknownst to many, an event few remember, but those who do, say it was quite a trip!

As I sat there watching the film I could hear yells and cheers, cries from the audience as folks like Ginger Baker, Todd Rundgren, Jorma Kaukonen and Stephen Stills, to name but a few and many regional musicians from the New York area who were interviewed known to the audience as some were in attendance on Saturday night.

David Kramer Presents: Jimi Hendrix-The Documentary is a fascinating film, a project filled with enormous amounts of love and respect, dedication and perseverance. We get to see another side of Hendrix, stripping away the facade, hacking apart the legend, breaking down the walls of historical inaccuracies and legendary misinformation.

Jimi was a performer, a musician with other-worldly talent, who enjoyed playing the guitar, hanging out with friends, loved his women and up to a certain point in his life, was really enjoying himself as a regular person. We are welcomed into a world of intrigue, mistrust, free love, psychedelic-drug fueled jam sessions, explosive stage performances, explosive tirades, mafia influences, complete meltdowns, unbelievable guitar pyrotechnics and electrifying stage theatrics from a guy named James Marshal “Jimi” Hendrix.

A must-see for music fans worldwide. Seek this movie out immediately! I was captivated, mesmerized, and thoroughly entranced by the 2-hours that passed by as magically as the notes from “Purple Haze.” Outstanding achievement!

Rock guitarist, singer, composer, bandleader Jimi was gone by September 18, 1970 at the young age of 27.  He certainly lived a remarkable life.  Thanks so much David Kramer for giving us a chance to know Jimi a little bit better as a person, as a gifted and somewhat troubled human being, seeing him warts and all for the first time, a journey that was certainly worth the wait. What a trip!

G. H. Harding is a four decades insider to the entertainment world. He’s worked for record companies; movie companies; video-production He’s worked for record companies; movie companies; video-production companies and several cable outlets. His anonymity is essential in bringing an unbiased view to his writings on pop culture. He is based in NYC.

Celebrity

In “Back to Black,” Star Marisa Abela Turns in An Uncanny Performance as Amy Winehouse in The Sam Taylor-Johnson Biopic

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Evoking classic R&B, the late Amy Winehouse emerged as a celebrated new stars by making old music sound fresh. She possessed a deeply soulful voice which she used to sing songs of love, heartbreak, and struggles with substance abuse, as in her Top-10 hit “Rehab.” Winehouse sold 16 million copies of the LP Back to Black” and won big at the 2008 Grammy Awards, taking home Song of the Year, Record of the Year, and Best New Artist. All that success was overshadowed by the Brit’s personal troubles, which, according to MTV News, included an arrest for drug possession — there was a viral video of the singer smoking what was reportedly crack cocaine — and an emphysema diagnosis.

Winehouse’s demons tragically got the best of her. According to The Guardian, authorities were summoned to the singer’s north London home in July 2011, where they found her dead at the scene. Winehouse was reportedly a heroin user, but a post mortem inquest pinpointed a different cause of death. According to “The Independent”, a London coroner found no drugs in her system, ruling that the singer died of alcohol poisoning following a period of three weeks of sobriety. Winehouse is believed to have consumed 416 milligrams of alcohol per deciliter of blood, well over a fatal level of 350 milligrams. She was 27 years old.

This complicated history has been fodder for articles, books, a notable documentary and now a feature film, “Back to Black”. The movie’s title is taken from the hot album of the same name. Directed by 57-year-old Sam Taylor-Johnson, her feature film debut was 2009’s “Nowhere Boy,” based on the Beatles’ singer/songwriter John Lennon’s childhood experiences.

Taylor-Johnson’s star for “Back to Black,” Marisa Abela, made her TV debut in 2020 with leads in the Sky One political thriller, “COBRA” and the BBC Two/ HBO office drama, “Industry.”  Abela appeared in the 2022 films, “She Is Love” and “Rogue Agent.” In July 2022, she joined the cast of Greta Gerwig’s “Barbie” (2023). Then the actress starred as Winehouse in this biopic.

This Q&A comes from an appearance made by the duo at the Museum of The Moving Image shortly before the film’s May 17th release.

T2C: This is a remarkable story and one that, in some ways, is privy to when she was alive. For each of you, what moved the dial from this is a remarkable story to this is a remarkable story that I need to tell?

Sam Taylor-Johnson:

Sam Taylor-Johnson: When Alison Owen, our producer, called me and said, “I’m looking to make the story of Amy Winehouse, which would be interesting,” I felt like I couldn’t say “Yes” quick enough. After I said so, I suddenly processed the enormity of what I was taking on. It felt like it had to be made from [Amy’s] perspective because, by living in London around the time when she was alive, I watched how her life was dissected and pulled apart in the tabloids and similarly post-death. I felt like going directly into her perspective. It was almost like allowing her to tell her own story through her words and her lyrics. It felt like a timely thing to do.

Marisa Abela

Marisa Abela: Basically, I got a call from my agent who said they’re doing it. I was about 13 when “Back to Black” came out, so I was aware of her music. I was singing the songs, but when you’re singing “Love Is A Losing Game” and you’re 13 years old, it doesn’t mean that you really understood it fully. That was my understanding of Amy [at the time]. Then, because of all of the tabloids and the images and stuff, I knew of her in that way. So, I said, “Let me think about it.” I was then in front of Sam Taylor-Johnson and Nina Gold, an amazing casting director in London. I knew they were being quite specific about who they were seeing, so I just didn’t want to make a fool of myself, essentially.

Then I started watching footage, the documentary, interviews about her life – things that really were quite telling [about] who she was as a person. There was just this thing about her and that carried me through the entire process I was watching. And there was this magnetism, this intensity, this deep well of feeling, emotions and intensity, that I was so drawn to. I felt that we’d drawn from Amy, herself. It was all there in her music. And for the people who still listened to her music often, this is for them. In the narrative around her life and death, I felt that what we’d lost really came through, but it seems like there’s a double-edged sword here.

T2C: There’s so much media and coverage, so many perspectives to sort through. Talk a bit more about your process and how you blocked out the noise and chose to privilege us with her perspective with what was there?

Sam Taylor-Johnson: It was important from the beginning to just block out the noise. There was a lot, especially when we were filming, and it became louder and louder. The louder it became, the more determined I was to just keep driving forward with it through her eyes and to uphold her. Our press are quite famous for pulling down anything that might seem to be successful in any way. It felt like those voices saying we need to protect her legacy were also the ones who pulled her apart during her lifetime. That emboldened me in a way to shut those voices out. The decision around how and what sort of film was going to be quite quickly came into place.

When I sat down with Matt Greenhalgh, who wrote the movie, I said, “If we are going through her workstyle perspective, with “Frank” and then “Back to Black,” obviously those are the keys to this film. “Back to Black” really is a love story and tells us everything within it. It became our framework. I knew that that was difficult for a lot of people who had a lot of opinions and judgments. I felt like her declaration of love and the power of that love was important to uphold in order to understand the creative journey of “Back to Black. In a way, we went into her perspective saying, she loved her father and she loved Blake: therefore, that’s our view. We still see some of the things that are highlighted in the documentary that people feel strongly about. They’re still part of our film, but they’re not seen through the lens of judgment. It was quite freeing to stay in her shoes on that journey.

T2C: This being a love story, you think immediately of romantic love. But the relationships that I was most struck by were those she had with her family. Talk a bit about choosing actors and having them light up those roles?

Sam Taylor-Johnson: With her Jewish grandmother, it was clear — during the research and hearing the stories from the family and others — that she was so much a part of the fabric of who Amy was, through Grandma Cynthia’s style and love of jazz and music. So it felt like, “Okay, this is worth going further into and strengthening that relationship.”  But when I went to Lesley [Manville] initially, she said, “Oh, I don’t know if there’s enough on the page for me.” I said, “Look at it like this is the fabric of Amy.” Once Lesley came on board, we then wrote more scenes because she was just so exceptional. We just honed in on those relationships that we felt were really important to the narrative of this story. Obviously, within — I don’t know how many minutes it was, I’ve forgotten — so much had to be dropped by the wayside. For me, as a storyteller, I have to just find my path. The Winehouses — Cynthia, Mitch, and Janis — plus husband Blake were on a path.

T2C: Talk a bit more about the music. Obviously there’s a great blueprint here. Did you have to make difficult decisions about what songs were included?

Sam Taylor-Johnson: I’ll start, but I want Marisa to take over on this because I’m talking too much. What I had quite early on was one of her playlists. On that playlist were The Specials and Minnie Riperton. It was quite a gift to have that. Amazingly, of all the things that were written that weren’t Amy’s music, we managed to have access to it. But when I started the movie, I had all the music rights from Sony and Universal. I didn’t have to have approval for anybody. I could just make the movie I wanted to make. Matt wrote very specifically for the songs, almost like it’s a musical in the sense that it belonged to the narrative structure. You couldn’t choose “Love Is a Losing Game” and switch it with “Stronger Than Me.” It really was laid out that way.

I’ll let Marisa come into this because I just want to say, when I met Marisa for the audition, she said, I remember, “What about singing? I’m not a singer.” But Marisa sang that entire movie. Every song you hear. So from the position of declaring she couldn’t sing, what you saw is very contrary to that. Okay, you can talk about that…

Marisa Abela: I think what became clear was, as I was reading the script more and more, and watching more and more footage of Amy, was that these albums are so iconic and incredible from a songwriting perspective as well as a musical one. But what was so incredible about the performances I was watching was that they were completely different every single time. If she was in a bad mood – and she was often in a really, really bad mood – you wouldn’t get half the song from her. If she was in a great mood, she was singing all over the place, amazing riffs. To certain members of the audience, this is the thing that made Amy a live performer.

What weirdly felt like the most authentic choice was to be able to use my own voice to make whatever choice came to me in the moment from a purely impulse perspective as an actor. What was inspiring me at this moment? Is it that I’m looking at Blake during “There Is No Greater Love” and I’m so overwhelmed with feeling and emotion that I want to hold on to a specific sound for longer so that he can hear me through all of those decisions? In the same way, the first time you hear her write one of her own songs with “What Is It About Men,” I wanted to be able to think about each line. How am I formulating this moment? you get to see the behind-the-scenes of the creation of a song. That’s a really beautiful thing. If we were cutting to the studio recording of “What Is It About Men,” for example, you couldn’t have that scene of Amy sitting on the bed writing it for the first time, getting mixed up with certain words.

I basically felt I needed to get as close as possible to something that sounded as recognizable as possible to one of the most recognizable voices that you would believe in. The truth is, if you listen to them side by side, I’m sure there are huge differences. But it doesn’t matter as long as you believe what she’s saying and as long as you believe what she’s feeling. That, to me, was always the most important thing as an actor, obviously. It’s the intention that matters. Process-wise, I trained very hard and also learned to play the guitar. I listened to all the people that I think she would have grown up listening to. As Sam said, we had lots of playlists of hers.

I was aware that she grew up listening to Billie Holiday, Sarah Vaughan, Diana Washington, Ella Fitzgerald, Lauryn Hill, Ray Charles. I just surrounded myself with that music and was singing along to it all the time. Then I was using the techniques I was learning with my singing teacher that were Amy’s tecjmoqies. We have a different face. She has a bigger jaw than me. She had a different nose to me. We use different resonances. So, it’s different. But the intention is the most important thing. I was training for two hours a day, every day, over the four months with my singing teacher.

T2C: There’s so much to dive into with its emotionality, but you touched upon something that I wanted me to talk to you about – creating these scenes like Glastonbury, the Grammys and things that we have enormous touchstones for beyond Amy’s experiences. These are media events that happen all the time. So practically recreating these scenes, which you do so successfully, can you talk more about them?

Sam Taylor-Johnson: Oh, I’d love to because I’m so proud of Glastonbury. When you see that big open-air festival, we shot it in a room not much bigger than this theater. We just had brilliantly creative teams working on this. Glastonbury for the rest of the year is just a field. So all of those stages and everything, we had to recreate and film it. I had an incredible sound crew. What we created, it took months to get that sound exactly right. Then the Ronnie Scott scene early on. That was the only time I ever saw Amy play, in a young, up-and-coming Voices of Jazz. How old was she? Probably 19 or 20. It was at Ronnie Scott’s. I used my memory of what it felt like being in the room with her to recreate how that would have felt. But yes, a lot of it, like the Grammys, we had YouTube running alongside what we were filming to try and emulate it as much as possible – like the same camera angles. Marisa’s performance, as you can see, was absolutely spot-on. Every finger movement was incredible. So it was fun. It was so fun to recreate this. And, it’s fun to watch it.

Film: Back to Black

Director: Sam Taylor-Johnson

Cast: Marisa Abela, Jack O’Connell, Eddie Marsan, Juliet Cowan, Lesley Manville, Sam Buchanan, Pete Lee-Wilson, Thelma Ruby, Renee Matilda Thorpe, Ryan O’Doherty

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Broadway

Ken Fallin’s Broadway: Richard M. Sherman Songwriter for Mary Poppins and Jungle Book Passes On

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Richard M. Sherman, was a nine-time Academy Award nominee along with his brother Robert. The Sherman Brothers wrote more than 200 songs for some 27 films and 24 television productions. Their film credits include Mary Poppins, The Jungle Book, The Absent-Minded Professor, The Parent Trap, Summer Magic tv, The Sword in the Stone, That Darn Cat!, Winnie the Pooh and the Honey Tree, The Happiest Millionaire, The Aristocats, and Bedknobs and Broomsticks.

The won two Academy Awards for Mary Poppins, taking home the trophies for Best Score – Substantially Original and Best Original Song (for “Chim Chim Cher-ee”). They won three Grammy awards and received 24 gold and platinum albums and were inducted into the Songwriters Hall of Fame in 2005 and received the US National Medal of the Arts in 2008.

They also wrote the score on Broadway for Over Here.

The brothers were portrayed in the 2013 film Saving Mr. Banks, which told the story behind the making of Mary Poppins.

Sherman died of age-related illness at Cedars-Sinai Medical Center in Beverly Hills. His brother Robert died in 2012.

 

 

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Broadway

Ken Fallin’s Broadway: On The Town For Fleet Week

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Fleet Week is upon us, so, attached is a drawing I did of Channing Tatum a few years ago for The Los Angeles Times. This was done for Hail Caesar! choreographed by Christopher Gattelli.

Hail Caesar!  is by Joel and Ethan Coen (No Country for Old Men, Fargo), starring Josh Brolin, George Clooney, Alden Ehrenreich, Ralph Fiennes, Jonah Hill, Scarlett Johansson, Frances McDormand, Tilda Swinton, and Channing Tatum, Hail, Caesar! follows a single day in the life of a studio fixer who is presented with plenty of problems to fix.

Here is a video with Channing and the rest of the cast. Talk about a great Happy Memorial Day!

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Dance

Events For June

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On going is still  Beatrix Potter: Drawn to Nature, is at The Morgan Library & Museum through 6/9.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. Until 8/11 the Whitney Biennial, this happens every two years.  This year, the theme is “Even Better Than The Real Thing” and features the work of 71 artists and collectives. Also on display is Apollo: When We Went to the Moon at The Intrepid Museum. The exhibit is included with museum admission and goes until 10/2. The Rubin Museum, is permanently closing its physical space later this year and is open until October. If you’ve never been time to go. Until 10/27: The New York Botanical Garden is getting in on the Mad Hatter fun with a new, garden-wide exhibition for 2024 titled “Wonderland: Curious Nature.”

6/1 -23: How Long Blues at Little Island. Twyla Tharp featuring live music by T Bone Burnett and David Mansfield.

6/6 – 16: Tribeca Film Festival

6/7 – 9: Governors Ball

6/7 – 24: River to River Festival 50th anniversary has celebrations of dance, music, video, installation, and exhibitions. Featuring 13 projects of live art, performances, and participatory events in public spaces throughout Downtown New York, the 2024 River To River Festival explores themes of resonance, reconsideration, and resistance.  All events are free and open to all. Reservations are requested for some performances and events with limited capacity reserve here.

6/9: National Puerto Rican Day Parade

6/10: Movie nights in Bryant Park Forrest Gump (1994)

6/12: The Tony Awards

6/12: NY Philharmonic Concerts in the Parks

6/12 – 30: Summer for the City The Dream Machine Experience and The Bridge Lincoln Center Presents Time travel through an immersive AR experience across our outdoor spaces led by Cyboracle, the larger-than-life virtual avatar portrayed by Nona Hendryx.

6/12: The third annual Summer for the City festival. Over 200 free or choose-what-you-pay events that span a variety of topics, genres and  locations.

6/13 – 16: Juneteenth New York Festival

6/13: Summer for the City The Outdoor Film Series Black Swan Natalie Portman gives an Oscar-winning turn as a sheltered but driven young dancer with a ballet company in NYC who begins to buckle under pressure

6/17: Movie nights in Bryant Park The Talented Mr. Ripley (1999)

6/18 and 20: SummerStage The Metropolitan Opera Summer Recital featuring Leah Hawkins, Mario Chang, Michael Sumuel

6/19 – 30: Black Restaurant Week up to 80 participating venues, including Red Rooster Harlem, Cascade Jerk, Twins BBQ Co., Collective Fare, Tamarind Island, Voila Afrique, Misfits Nutrition, Brooklyn Blend, Negril Village, Lee Lee’s Baked Goods, The Real Mothershuckers and many more.

6/20: Summer for the City The Outdoor Film Series Before Sunrise Jesse (Ethan Hawke) and Céline (Julie Delpy) meet on a cross-Europe train. In Vienna, they walk, talk, look around—and fall unexpectedly in love. Damrosch Park

6/21: Summer for the City Social Dance Abaddón Tango. Get swept up in the majesty and beauty of Argentinian tango at this social dance night featuring the Abaddón Tango sextet.

6/21: 125th birthday of the Bronx Zoo 

6/21: Summer for the City The Outdoor Film Series Before Sunset. Nine years after Before Sunrise’s open-ended finale, Before Sunset’s immediate question—did Jesse and Céline reunite in Vienna—soon gets eclipsed.

6/21: Summer for the City Silent Disco. Strut your stuff under the stars as our popular Silent Disco series returns to NYC’s largest outdoor dance floor with a ten-foot disco ball.

6/22: The Coney Island The Mermaid Parade kicks off at 1pm.

6/22: Summer for the City Mykal Kilgore a concert for all ages featuring GRAMMY-nominated performing artist Mykal Kilgore!

6/22: Summer for the City The Wedding: New York’s Biggest Day Ever dreamed of getting married at Lincoln Center? For the third year in a row, we’re inviting hundreds of couples to celebrate love. Come join us!

6/22 -23: SailGP (Sail Grand Prix) will bring 10 international teams to the waters to race turbocharged F50 catamarans at more than 60 miles per hour. Fans can watch the action in stadium-style seats close to shore along Governors Island.

6/23: Summer for the City Rosanne Cash.  one of America’s leading songwriters and creative voices, performs a live set on the 30th anniversary of her classic album, The Wheel.

6/24 and 26: SummerStage The Metropolitan Opera Summer Recital featuring Brittany Olivia Logan, Hannah Jones, Matthhew Cairns

6/26: Summer for the City ABT Silent Disco With DJ Remeice and Connor Holloway. Celebrate Pride Week with American Ballet Theatre in a silent disco spun by DJ Remeice and co-

6/24: Movie nights in Bryant Park Boomerang (1992)

6/26-29: Robeson at Little Island.

6/29: SummerStage Pride Disco: DJ Trixie Mattel + Amanda Lepore + Jess King

6/30: Pride Fest, The March

6/30: SummerStage Dreamland: Pride In Central Park With John Summit

 

 

 

 

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Broadway

League of Professional Theatre Women Invite the Public to Oral History Interview Of Broadway Playwright Theresa Rebeck

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Stage, film, television and novel writer Theresa Rebeck will be interviewed about her long and brilliant career at 6p.m., Monday, June 3, at the Bruno Walter Auditorium, at the New York Public Library for the Performing Arts at Lincoln Center (111 Amsterdam Avenue at 65th Street), New York.
This event, which is FREE and open to the public, is part of the League of Professional Theatre Women’s (LPTW) Oral History Project in partnership with the Library and is a highlight of LPTW’s 41st season.
Theresa Rebeck is a widely produced writer for stage, film, television and novels, whose work can be seen and read throughout the United States and internationally. With five plays produced on Broadway, Rebeck is the most Broadway-produced female playwright of our time.
Rebeck’s Broadway credits include I Need That (starring Danny DeVito), Bernhardt/Hamlet (starring Janet McTeer), Dead Accounts (starring Norbert Leo Butz); Seminar (starring Alan Rickman); Mauritius (starring F. Murray Abraham). Other New York productions of her work include Dig (Outer Critic’s Circle nomination), Seared (starring Raul Esparza, DramaLeague Award) at MCC Theater, Downstairs (starring Tim Daly and Tyne Daly); The Scene (starring Tony Shalhoub), The Water’s Edge, Loose Knit, The Family of Mann and Spike Heels at Second Stage; Bad Dates, The Butterfly Collection and Our House at Playwrights Horizons; The Understudy at Roundabout Theatre Company; and View of the Dome at New York Theatre Workshop. Other notable plays include Poor Behavior, What We’re Up Against, and Omnium Gatherum (co-written), which was a finalist for the Pulitzer Prize in 2013.
As an author, Rebeck has written three novels: Three Girls and Their Brother (Random House/Shaye Areheart Books, 2008), Twelve Rooms with A View (Random House/Shaye Areheart Books, 2010) and I’m Glad About You (G.P. Putnam’s Sons, 2016), along with Free Fire Zone, a book of comedic essays about writing and show business.
Rebeck made her NYC Directorial debut with Rob Ackerman’s play Dropping Gumballs on Luke Wilson at The Working Theatre and directed the World Premiere of her new play Dig at Primary Stages in NY and Dorset Theatre Festival in Vermont. Her new podcast play, “Nightwatch” (starring Norbert Leo Butz), was released in 2023.
In television, Rebeck created the NBC showbiz drama “Smash,” and has written for “Canterbury’s Law,” “LA Law,” NYPD Blue,” “Law & Order: Criminal Intent,” “Dream On,” Brooklyn Bridge,” and many more.
Her produced feature films include the big-budget all-female spy thriller 355 (co-written with Simon Kinberg for Jessica Chastain’s production company); Trouble (writer/director), starring Angelica Huston and Bill Pullman; Harriet the Spy; Gossip and the independent features Sunday on the Rocks and Seducing Charlie Barker, an adaptation of her play, The Scene.
Theresa lives in Brooklyn with her husband Jess Lynn.
To attend this event, please RSVP HERE.
To view past oral history interviews, visit the Library’s Theatre on Film and Tape Archive, or visit the LPTW’s archive.
Women working in the theatre industry are eligible to join LPTW.  For more information on upcoming events and to join LPTW, visit: www.theatrewomen.org.
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