Film
Day 1 at TIFF19 – ‘The Truth’ About ‘Frankie’
It was Day 1 at the Toronto International Film Festival (#TIFF19), and I was surrounded by stellar French actresses on screen as I dove headfirst into the movies of my first weekend of the film festival. Two films with three amazing iconic French actresses, with two of them playing celebrated movie actresses, oddly enough. First up, Isabelle Huppert (Paul Verhoeven’s 2016 ‘Elle‘, ATC’s The Mother) portrays a famous film and television actress who has summoned her idiosyncratic loved ones to join her for a holiday walking the lovely green and brown pathways of Sintra. Taking in the beauty of the landscape both lush and barren, Huppert rules the Portuguese town playing host to Ira Sachs’ (‘Little Men’) beguiling film ‘Frankie‘. With delicacy, Huppert layers a breezy mischievousness over the heartbreak and pain of a loss that is approaching. She’s effortlessly elegant and photogenic, as she states wryly in the first scene, unearthing humor carved out of her personal tragedy and the slight coolness she has towards her children. All the while, systematically displaying tenderness to her current and former husbands (Gleeson and Pascal Greggory, respectively). It’s a compellingly complicated portrayal, when it works, thinking that she can manipulate everything around. The coolness sometimes backfires, never really engaging us deeply within her plight, probably in the same way it has produced a structured distance with her two children. It’s odd and distracting, this non-engagement, especially when balanced authentically with the awkward adoration of fame that surrounds her.
Her two children; the wistfully lonely son Paul, played with a disturbing confessional quality by the earthbound Jérémie Renier, and her unhappily attached daughter Sylvia, brittlely portrayed by the lovely Vinette Robinson, rarely feel connected to the same tribe. In someways their relations are complicated by their historic attachment that is revealed inauthentically casual manner to a new acquaintance. The dialogue and the direction do little to help create organic interactions and revelations, although we are continually being asked to believe these moments are sincere, rather than just required for the plot to move forward. Sylvia has arrived with her husband Ian (Ariyon Bakare) who struggles to be kind and engaged. Their emotionally troubled daughter Maya (Sennia Nanua) only wants to find escape at the beach far from that same family. Her coming of age story is somewhere out in the deep blue sea, awash in other colors and connections. And her and her family never seems interwoven in the same fabric as Frankie and Paul’s intimacy. Maybe it’s a mother/son thing, but Sylvia and most importantly Maya’s awakening, although beautifully enacted, feels like it’s from a different family and a totally different movie.
Frankie, never one to just let things be, has also invited an old friend, Irene, beautifully portrayed by the detailed and expressive Marisa Tomei. She plays a film-set hair stylist who Frankie adores and who just happens to have some time off from a film she is working on in Portugal. Random as it sounds, it adds one of the more real interpersonal connections to the otherwise fractured film, beyond a very touching love moment between Frankie and her husband. Like that moment, Irene and Frankie have such a heartfelt engagement, deeper and more true than any connection she has with her children, but there is also a secret plan lurking in her devotion. A desire inside Frankie to play cupid with Irene and her perpetually single son, Paul. It’s a plot Frankie doesn’t share with anyone, including Irene, who casually brings along Gary (Greg Kinnear), a Hollywood cinematographer who has a few hopes and dreams of his own that definitely include Irene. Tomei brings clarity and realness to every scene she is in, devastatingly so. “No bullshit“, is her thing, even when the dialogue (screenplay by Mauricio Zacharias and Sachs) that permeates the whole dynamic feels stilted, disconnected, and overly theatrical.
The desire for love and attachment seems to hang over the characters like the fog over the beautiful landscape of Sintra (cinematography by Rui Poças). It gives the piece an edge and feeling that something dramatic is about to happen. ‘Frankie‘ is seen as attempting to connect with her kids and explain the real reason she’s brought them here, but the scenes feel fractured, and her connection with her daughter, Sylvia feels almost nonexistent. This is not, I must add, because of a lack of talent by its crew of well-established actors, but more in the editing (Sophie Reine) and pacing within the screenplay and, more importantly, the direction, that never finds the pathway to convey authentic hidden depths with their words, gestures, or vistas.
The last shot is synonymous with what this family is all about; standing on the brink looking off to the horizon with so much distance between the differing fractions, attachments, and solidarities. It’s meant to be the climax of the trip, this gathering at the water’s edge, something talked about throughout the film as utterly important and profound, but it fails to register as that. Water is said to cure all maladies, so they say, and somewhere in that myth the characters must try to accept their fate for the sake of one another and for their mother, but it is diluted of power or enmeshment. As they congregate and then slowly return to their lodging and their lives, the family and friend are left with Little resolution or salvation. No one feels more connected or at peace then when they first arrived. Sad, especially with all the talent that has come together is the beautiful town of Sintra.
Over in Paris in ‘The Truth‘ / ‘La Vérité’, another great French actress, Catherine Deneuve (Roman Polanski’s 1965 ‘Repulsion’) stars as the famous great French screen legend Fabienne, struggling to mend wounds with her long-estranged daughter, Lumir, a screenwriter, who also happens to be played by another great French actress, Juliette Binoche (Anthony Minghella’s 1996 ‘The English Patient‘). Deneuve, as led by the acclaimed Hirokazu Kore-eda’s (‘Shoplifters’, ‘Like Father, Like Son’) in his first film made outside of his native Japan, gives a beautifully nuanced performance. In this detailed mother/daughter conflictual reunion, the collaborations and entanglements trigger long-buried disappointments that have only deepened over time. With Binoche and the wonderfully raw Ethan Hawke (Richard Linklater’s 995 ‘Before Sunrise‘, Broadway/RTC’s True West) as her second-tier actor husband, Hank, the exploration of love, art, and responsibility to one another flows out of the house that looks like a castle (stunning Cinematography by Eric Gautier). The long stewing resentments have the force of a wild and powerful witch jumping forth out a cherished storybook. It’s no surprise the house sits proudly in front of a prison, as the walls of both are an unforgiving trap, keeping them tied to their past mistakes like a jailed inmate desperate for a kind parole hearing.
Deneuve’s unforgiving character, a woman who never feels she needs to apologize for anything to anyone (especially a man), drives the piece forward in a way that ‘Frankie‘ couldn’t find anywhere in Portugal. With Deneuve’s character ilming a movie called ‘Memories of Your Mother‘, Fabienne clumsily tries to find the poetry and the emotional connection that is misrepresented in her memoir, a book that infuriates all that are connected to the star. When her assistant suddenly and dramatically resigns for the same lack of appreciation, Lumir takes over his role just as Fabienne begins work playing the role of an elderly daughter in a science-fiction film. The parallels between the film project and Favienne’s life start to unravel and entwine all involved, including the young actress at the center of the sci-fi film (a beautiful Manon Clavel). The actress and her role within a role reminds both mother and daughter of a past connection with another actress of Fabienne’s generation that drove a wedge of resentment between the two long ago. A fracture that ended tragically, forever tarnishing their trust and attachment.
As the confrontations grow on and off set, ‘The Truth‘ / ‘La Vérité’ forces the two to look at a past where one can’t trust memory or believe in one another. They can only battle a kind and maternal ghost that haunts their bitter familial relationship. The two bring their knotted “bad mother/bad friend/good actress” relationship towards a place of new understanding with Fabienne, whose tendency is to save her feelings for the camera, and Lumir, who tries to control her world by writing it into being. Somewhere the two find a place of peace where the truth and the myth remain foggy and hard to grab hold of. But their bond is undeniable, even if apologies and tender confessionals are written by another.
It’s a beautifully crafted film by an obvious expert, even when the cruelties are not lost in translation, but physicalized with a power that these French actresses possess with aplomb.
All these famous actors playing legendary screen actors. It’s a magnificent way to begin my dive into the TIFF pool, I just hope I do it as elegantly as Huppert can in those first few moments of ‘Frankie‘. Topless and proud of everything she has to give.
G.H. Harding
STRIKE END LOOMS — (Via Showbiz 411/Roger Friedman) All the studio chiefs met Wedneday with the Writers Guild and will continue negotiating tomorrow, according to a WGA post.
The sudden seriousness of the studios is welcomed as the deadline looms for the 2023-24 TV season. If the WGA and SAG-AFTRA strikes aren’t resolved by early October, my sources say it will be impossible to put on a season.
Netflix’s Ted Sarandos, Disney’s Bob Iger, Universal’s Donna Langley and Warner Bros Discovery’s David Zaslav were present today for the negotiations, a sure sign that the studios are finally in panic mode.
There are no daytime or nighttime talk shows, no new material on TV, and actors can’t promote the fall and winter movies. The actors have already missed the Telluride, Venice, and Toronto Film Festivals. Now the New York Film Festival looms, as does the premiere of Martin Scorsese’s “Killers of the Flower Moon.”
The so-called Fall TV Season has been decimated; the Emmy’s pushed back and just general chaos everywhere. The severity of the strike -142 days in- has hurt almost-every-single below-the-line sector, from caterers to limo drivers to costume houses. It’s reported that it will take up to 10-12 weeks to fully resume everything. That means early-November and let’s not forget come Thanksgiving, the holiday season officially starts. Stay tuned.
Burt Bacharach
LOVE, BURT AT THE CUTTING ROOM — Monday night at Steve Walter’s Cutting Room was the presentation of Love, Burt – celebrating the majesty and memory of Burt Bacharach’s music.
The show really moved me and reminded me of the reason I do what … the music!
The show was just sumptuous – with the assembled group -led by Mike Visceglia- honoring and doing proper justice to a host of Bacharach songs – everything from “Baby, It’s You” to “One Less Bell To Answer,” The Look Of Love” and “Alfie” were all dutifully done. Especially poignant was their rendition of “A House Is Not A Home.”
The fact of the matter is that when these songs were recorded, they were embedded into everyone’s consciousness. These versions were good, but the originals remain standout. You hear a lot about the Great American Songbook, but these songs are the “new” Great American Songbook. Just luscious.
They ended the show was one of my favorite-Bacharach songs, from the 1988 album Burt recorded with Elvis Costello, Painted From Memory. One of the album’s strongest cuts is “God Give Me Strength.” It was simply sensational.Spotted there were Benny Harrison and Maria Milito from Q1043.
The room was packed like never before; what a night!
Micky Dolenz on KTLA
SHORT TAKES — Micky Dolenz headlines the ACE Theatre Friday night in LA, and was a guest on KTLA Wednesday. Here’s a shot of him on-set with Sam Rubin who interviewed him with the KTLA-gang. Sam’s the second from left. Industry stalwarts at the ACE Theatre show include legendary-LA Times writer Randy Lewis; LA Magazine’sRoy Trakin and Goldmine’s Ken Sharp … Roger Friedman reported Wednesday that the pre-sales of Jann Wenner’s upcoming book Masters have been severely impacted by his New York Times interview. Take a read here: https://www.showbiz411.com/2023/09/20/jann-wenners-new-book-the-masters-drops-in-pre-sales-run-on-amazon-almost-off-the-top-2000-after-scandal-erupts And just last night his big presentation at NYC’s 92nd Y with Cameron Crowe was shuttered as well … SIGHTING: Alison Martino at NYC’s Algonquin Hotel …
The Morning Show
When Apple TV’s The Morning Show debuted years ago (November 2019), created and run by Kerry Ehrin, it was a first-rate series certainly of The Sopranos-like and Mad Men-like caliber. Billy Crudup was astonishingly good as were Jennifer Aniston, Reese Witherspoon and Steve Carell. The second season was basically trash. Three episodes in on a third season -with a 4th already guaranteed- it’s kind of a mixed-bag. I did not care for the first two EPs, but the third was bordering on the edge of greatness – and Witherspoon wasn’t even in this one and there was no explanation why. Jon Hamm has joined the cast as sort of an Elon Musk-figure. To me, he’s still Don Draper, just with an updated wardrobe. Most of the production staff has been replaced and it seemed to me, they’re still finding their way. The trouble is, that with these 8 or so episode-runs, it gets really good at episode 6. Go figure …
Rupert Murdoch
Rupert Murdoch to retire per CNBC? More on this next column … Meg Ryan and David Duchovny in What Happens Later – looks cute and Ryan directed it – check out the trailer: https://www.youtube.com/watch?v=WqTZqSglhZo … RIP Roger Whitaker
David McCallum
and Happy Bday David McCallum; Curtis Urbina; and Bill Murray!
NAMES IN THE NEWS — Glenn Gretlund; Jodi Ritzen; Leonard Nimoy; Tom & Lisa Cuddy; Scott Shannon; Zach Martin; Michelle Grant; Art Rutter; Maria Milito; Joe Lynch; Melinda Newman; Mandy Naylor; Kimberly Cornell; Sam Rudin; Jim Clash; Terry Jastrow; Randy Alexander; Bob Merlis; Andrew Sandoval; Art Rutter; and CHIP!
G.H. Harding
WENNER TAKES A DOWN —Jann Wenner always speaks his mind and this week he may have overstepped just a bit. In an interview that ran in the New York Times about his new book called Masters, he quite openly said that there were no black or R&B artists in it, because they were not able to articulate properly. I know, I felt the same way reading that. Minutes later, he was let go by the board of the Rock and Roll Hall of Fame, which he helped start with Ahmet Ertegun way back in 1983.
Ahmet Ertegun
His Like A Rolling Stone autobiography book was quite an indulgent read last year, but Wenner has in the last several years suffered several health set backs and it was pointed out that he may not be in his right mind. Still, he should have spoken way more carefully. I’ve known Wenner for decades and trust me, he feels he’s way entitled, and that said, you can rest assured that there were dozens and dozens of people (and former employees) waiting to take him down.
The sad fact is that most of the accusations are true. That said, let’s face it Rolling Stone magazine in it’s heyday was a miraculous outlet for so much music and terrific journalism – from Ben Fong-Torres to Hunter Thompson and Jann himself .. it was distinguished. Now, he may have killed it all.
Rolling Stine magazine Monday posted this – essentially disowning his from the magazine: “Jann Wenner’s recent statements to the New York Times do not represent the values and practices of today’s Rolling Stone. Jann Wenner has not been directly involved in our operations since 2019. Our purpose, especially since his departure, has been to tell stories that reflect the diversity of voices and experiences that shape our world. At Rolling Stone’s core is the understanding that music above all can bring us together, not divide us.”
Here’s the report from Deadline: https://deadline.com/2023/09/jann-wenner-removed-rock-and-roll-hall-fame-foundation-board-1235548690/comment-page-1/#comment-3858649
FILE – Drew Barrymore attends the Time100 Gala, celebrating the 100 most influential people in the world, at Frederick P. Rose Hall, April 26, 2023, in New York. The National Book Awards dropped Barrymore as the host for this year’s ceremony, Tuesday, Sept. 12, 2023, a day after her talk show taped its first episode since the Hollywood writers strike began. (Photo by Evan Agostini/Invision/AP, File)
DREW’S BLUES — Boy, what did Drew Barrymore ever do to deserve the treatment she’s been through with the media. Sure, her ideas to bring back her daily-chat fest was a good one, for the right reasons, but everyone from Rosie O;’Donnell to the trade papers have bounced on her like madmen. I never met her, don’t hate her, but really … let’s get back to something real, like these Russell Brand-accusations!
SHORT TAKES — We finally caught David Bryne and Fatboy Slim’s Here Lies Love and absolutely loved it. I remember it well when it premiered at the Public Theater way back when and knew they were trying to get it to Broadway. Honestly, I never thought twice about the Ferdinand and Imelda Marcos story, but the play was riveting then and it remains now. They’ve outfitted NYC’s magnificent Broadway Theater with disco-balls galore and club-lighting and the immersive experience is terrific. Here’s a great re-cap of the play’s evolution from Theatre Guide: https://www.newyorktheatreguide.com/theatre-news/news/how-the-music-of-here-lies-love-evolved-on-the-way-to-broadway …
Chris Carter and Micky Dolenz – Breakfast With The Beatles
Micky Dolenz appeared on Sunday’s Breakfast With The Beatles with Chris Carter (on KLOS) and talked about his new Dolenz Sings R.E.M. on Glenn Gretlund’s 7a Records. He also talked about his time with The Beatles and John Lennon. Carter also played a mash-up of Monkees and Beatle-songs which was done in England and it was superb. Here’s a shot from the event at LA’s Hard Rock Cafe on Highland and Hollywood Blvd. … SIGHTING: PR-pasha David Salidor and Benny Harrison at Monday’s Cutting Room tribute to Burt Bacharach … RIP Sammy Ash …
Jimmy Buffet
I’ve been thinking the best way to describe Jimmy Buffet and I saw this headline in LA Magazine: leisure evangelist– and it fits perfectly …
Happy Bday Donnie Kehr and Richard Branciforte.
NAMES IN THE NEWS — Dan Mapp; Brad Auerbach; James Clash: Robbie Robertson; Carol Ruth Weber; Randy Alexander; Tom & Lisa Cuddy; Andrew Gans; Kathy Brown; Roger Clark; Chris Boneau; Tricia Daniels; Dan Zelinski; Benny Harrison; Steve Walter; Gil Friesen; Donna Dolenz; Dan Mapp; Brad Auerbach; James Clash; and ZIGGY!
STRIKE UPDATE— (Via TV Line) “9-1-1, what’s your TV emergency?” The dual WGA and SAG-AFTRA strikes need to be resolved by the end of this month if scripted primetime fare such as 9-1-1: Lone Star and The Cleaning Lady are to return with new episodes in the 2023-24 TV season, says Fox entertainment president Michael Thorn.
When last we tuned in, 29 days ago, the WGA had countered the AMPTP’s latest offer; no next meeting has been scheduled. Things are proceeding even slower on the SAG-AFTRA front. Sources tell TVLine that it will take scripted shows roughly eight weeks to get back into production once the strikes are resolved.
“You’re going get to a point in the fall, in the late fall, where it’s going to be very hard to launch [scripted shows] within the traditional TV viewing season,” Thorn told our sister site Deadline.
If the strikes are resolved later than October 1, that’s where difficult scheduling decisions will have to be made.
“If that means the [delayed scripted] show could work and succeed in the summer [of 2024], great,” Thorn said. Or, “If it’s better to wait for the fall and use football and sports” to promote/launch scripted seasons, “we’ll do that.
“You could use October 1 as the date” by which the writer and actor strikes need to be settled,” Thorn added. “Every show is different but sometimes when you’re staring at a May launch date, you always wonder, ‘Is that the best time?’” to premiere a season/series
Fox’s fall TV slate features one full night of scripted animated fare (on Sundays), while the rest of the week is rife with multiple Gordon Ramsay cooking competitions, new seasons of Special Forces: World’s Toughest Test, Name That Tune and The Masked Singer, 9-1-1: Lone Star reruns, the new, David Spade-hosted Snake Oil game show, and, of course, Friday Night SmackDown.
But whenever the magical day comes for live-action scripted fare to return to our screens, “we’re going to return those shows with vigor,” Thorn avowed. “We really pride ourselves on ‘less is more’ and we were fortunate to be able to really put our money where our mouth is in that regard. When we return, Animal Control is going to get the full backing of this far-reaching platform [as will] John Wells’ new show, Rescue: Hi-Surf, when we launch it.”
Several columns back we posited that the strike might just be settled by Labor Day .. and we were lambasted with emails from a scattering of actors, writers and below-the-line talent that it would not be. They were right. As Gordon Gekko said, greed is good. Is it? Let’s all make nice and good back to work.
SHORT TAKES — As you may know the Toronto Film Festival has been going on and the two films that have received the most buzz are the Paul-Simon/Alex Gibey doc,
Michael Keaton
In Restless Dreams and Knox Goes Away starring Michael Keaton, who also directs, with Al Pacino, can’t wait to see both. Bravo! …The latest episode of Hulu’s Only Murders In The Building was just OK. So far, this third season has totally underwhelmed us. We said a few columns back it was most likely due to the fact that Martin hasn’t written any of the episodes so far. Why? I have no idea. Matthew Broderick played himself, but with a little more anxiety than usual, but the real highlight of this episode was a video-phone call between Martin Short and Mel Brooks. Irresistibly funny … Hard to believe that it’s the 25th anniversary of MTV’s ground-breaking TRL Live (Total Request Live).
Carson Daly
Carson Daly did a nice remembrance on Thursday’s Today Show, even citing John Norris and Kurt Loder, who were key correspondents. They taped many of the shows at NYC’s long-gone Palladium (now an NYU dorm), but many, many memories come to mind; Hall & Oates rehearsing in their dressing room
Debbie Gibson at Z100 on The Morning Zoo
and running into Debbie Gibson is one. Daly pointed out -and rightly so- TRL was a fan-driven show, where viewers had to request what to hear. These days I guess it’s just a download. Much missed for sure …
Carrie Underwood
Funny watching Carrie Underwood this morning; as she she reminded me so much of Shania Twain. from the music, to her visuals. As always, her “Before He Cheats” is tremendous and a big crowd pleaser … It’s a funny world for sure.
RL Stine
When RL Stine’s Goosebumpsfirst debuted in 1992, it was heralded as refreshingly new, both for the kid-demo and its brilliance. There were a few attempts at a series (even with Stine introducing them) and even a movie in 2015 that did just so-so. Now, with Netflix’s Stranger Things having hit a home run, Disney+ is starting a series, with Justin Long, that appears to veer dangerously close to Stranger Things. Also, oddly enough, Stine does not appear to be involved with it. He says: “I wish I knew something about it. I’m not in the loop. It looked to me like they weren’t going to do an anthology show. They were going to do something different that was some kind of continuing story. That’s what it appeared. But I have no information about it.” It begins on October 31. Have a look at the trailer:
Seeing Here Lies Love Saturday night, can’t wait …
Mary Wilson and Bernie Taupin
Great Bernie Taupin interview on NY Live with Sara Gore. They’re friends, so the interview as sensational. Check it out:
Love Bernie and Sara! …Happy Bday Randy Jones and Amy Billings!
NAMES IN THE NEWS —Andrew Sandoval; Jacqueline Boyd; Alison Martino; Robert Funaro; Tom & Lisa Cuddy; Roy Trakin; Daryl Estrea; Glenn Gretlund; Jane Blunkell; Roger Friedman; Felix Cavaliere; Dan Mapp; Jim Kerr; Sam Rubin; Liz White; Grace Mendoza; Roy Trakin; and ZIGGY!
Actress and TV personality Cynthia Bailey is the September cover star of the relaunch of Mr Warburton Magazine.
The inspiration for the shoot was 1975 film Mahogany starring Diana Ross. We took over a street in DTLA and created a set.
“I wanted to show Cynthia in a different way. No wigs, just character,” says EIC Derek Warburton. “I have been friends with Cynthia half of my life and this is the first time she has posed for one of my magazines. I feel the world has a specific view of her but I see so much more. She is a chameleon & at 56 years old Hollywood isn’t gonna know what hit them when she gets the right role.”
Be sure to check out the new double cover issue HERE.
Tony Award® winner Santino Fontana brings his tremendous talent to 54 Below and it is a show that wraps you up in his humor, charm, vocal prowess, laid back demeanor, jeopardy style musical choices and over all entertaining. By the end of the show you feel as if you know him or at least a part of him. Starting off with Charles Strouse and Lee Adams’s “Stick Around,” the night turned into a Russian roulette of material. The audience picked numbers and as Santino put it “if you don’t like the show, it’s your fault.” First up for my show was the naughty but amusing “Making Love Alone” followed by Rodgers and Hammerstein’s Cinderella‘s “Do I Love You,” which made for an amusing combination of songs. During Cinderella Mr. Fontana had shoes that were built up 2 inches inside and 2 inches outside, which cause a tremendous amount of pain, so the song told the story of his plight, which made the song take on a much different meaning. Sondheim’s “Anyone Can Whistle,” was sung for a Carol Burnett tribute, that luckily we were treated to.
His guest for the evening was Sarah Steele (“The Good Wife,” The Humans, The Country House) who sang “out There On My Own” from Fame. On the 14th it will be Greg Hildreth (Company, Disney’s Frozen, Rodgers + Hammerstein’s Cinderella). Click on the name and you can hear that version.
Showing off his baritone side with Rodgers and Hammerstein’s “If I Loved You.” We almost got to see Santino in Cy Coleman and Dorothy Fields”s Sweet Charity, instead we got hint of what that would be like with “Too Many Tomorrows.” A hilarious version of “I feel Pretty” from West Side Story lightened the mood and had the room in tears. Recreating his duet “Love Is An Open Door” from Frozen, Santino channeled Dorothy Michaels from Tootsie. Again the room was laughing with the sheer comedic genius that won Mr. Fontana a Tony Award. Bringing the energy to a calmer state was the emotional Leslie Bricusse and Anthony Newley’s “Who Can I Turn To?”
Vocally the most impressive song of the night was “Joey, Joey, Joey” from Most Happy Fellow. Mr. Fontana’s voice was glorious in the tones and the subtle texturing. Keeping in the ballad mode and honoring Marilyn Bergman he launched into the iconic “Where Do You Start,”while accompany himself on the piano, which was highly impressive. Back to the uptempo mode “I Met A Girl” from Bells Are Ringing, was given a rigorous, amusing take. This was his original audition song. Lerner and Loewe’s “How to Handle a Woman,” from the recent Camelot, showed how Santino would have made an excellent King Arthur.
Another favorite moment of the night was “Buddy’s Blues” from Follies. Already a personal favorite, this made me want to see Santino play this role at a later date, though personally I would cast him as Ben.
For the finale songs “The Music In You” from Cinderella, told how he and the cast loved watching the magnificent Victoria Clark perform. “This Can’t Be Love” from 1938 Rodgers and Hart musical The Boys from Syracuse, ended up in an encore, of Harvey Schmidt and Tom Jones’s “They Were You” from The Fantasticks, which made my guest producer Pat Addiss extremely happy.
Cody Owen Stine
Santino was backed by his musical director and accompanist Cody Owen Stine, who played flawlessly.
Santino Fontana
Santino Fontana opened September 10th at 54 Below and you can still catch this marvelous show tonight September 14th. 54below.com
This is a do not miss!
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