Fabio Porchat, actor, comedian, writer, producer, TV host, celebrates his career’s 10th anniversary this year. The numbers are impressive and truly overwhelming. He commands all his successful projects, with a drive and energy that very few people have. He reminds me of an interview I once saw with Will Smith, in which Will said, in a summarized version, that when people are traveling, he’s working, that when people are partying, he’s working, that when people are sleeping, he’s working. Point blank, he’s working all the time, and that is precisely the same drive and energy that Fabio has. Not only is he working all the time as well, but in different kinds of media ( TV, Cinema, the internet, the printed press). A Brazilian magazine described him as Brazil’s current Leading Entrepreneur of Laughter.
Born on July 1st, 1983, in Rio de Janeiro, Mr. Porchat came to live in Sao Paulo a baby. He stayed in the city until 19. From a very early age he put on small plays with his cousins, using puppets and they would entertain the whole family. When it came to choosing a major in College, it was Business Administration he applied for. Sometimes, and this is fortunate, certain events can change the course of one’s life and throw them in the right direction. For Fabio, that event was the day he went with his college buddies to watch the taping of the most famous TV Talk Show in Brazil, called Programa do Jo, starring the acclaimed and renowned Comedian Jose Eugenio Soares, or as everyone calls him, Jo.
That day he had the nerve to ask, (encouraged by his friends), through a note he had written right there and then, for a chance to show one of his sketches, that had been based on a famous TV Show at the time, called Os Normais (The Normal Couple). Jo, gave him that chance, and boy, did he take it. Fabio made the audience, the musicians and most importantly, Jo, laugh hard. From that day on, he never looked back. He dropped out of college, moved to Rio, and started studying acting in one of the best acting schools in the country, Cal, Casa de Arte das Laranjeiras. He had made his decision, he was going to be an actor.
His numbers prove he knew what he was doing, in these ten years he has starred in 4 very successful movies, 3 were among the 10 biggest box-offices of the year of 2013. It is relevant to say he has also written some of these movies as well. The newest one is being released now, on April 30th. In Entre Abelhas (Among Bees) was written by Mr. Porchat and director Ian SBF, his long time friend and business partner. This movie promises to be a turning point in Porchat’s career as it a drama, despite maintaining the sense of humor and generating laughter. It is the kind of movie that really makes the audience wonder what they have been doing with their lives, their relationships and their dreams. It was certainly a leap of faith that Fabio took when he decided to do this film. It was well worth the effort and movie goers can look forward to a very intriguing and fascinating so called tragic-comedy. It has received excellent reviews and opens a whole new range of possibilities for him as an artist.
What really made him see his career change and grow astronomically is on YouTube, called Porta dos Fundos, ( or Exit or Back Door) which he co-founded with Antonio Tabet, Gregorio Duvivier, Ian BSF and Joao Vicente de Castro. It has 10.8 million subscribers and 1,5 billion views accounted for. This makes it the number one YouTube video in the world, in terms of number of views.
This has led to a TV show on Fox. He is now being paid around two hundred thousand dollars for events and other similar types of jobs such as TV commercials, which are a total of 17 since 2011.
Despite all this success, he is very down to earth and believes that this is his moment and that his career is a roller coaster. He wants to guarantee that he will continue working doing what he loves, for the rest of his life. That is precisely why he works so hard and so much, the fact that now he is taking this risk and releasing a film in which he plays a serious even depressed character, shows that he wants to be considered a complete actor, an actor that could play any kind of role. In Entre Abelhas(Among Bees), he is Bruno, a man in his early thirties who after getting separated, stops seeing people, he can’t see them anymore, even though they are there.
It would have been easier to have continued in his comfort zone, where he has millions of fans, but he is going for the difficult path, and that is certainly something to look up to. It just makes you stop and wonder, what mountain top will he climb, where will he get to. Is it Hollywood? He has said he wants to write a TV show in the US. After meeting with him and learning about all that he has achieved and made happen, one would have to say that the sky is not limit, it is only the first stop.
The Glorious Corner
SLY REVIVED — (via Rolling Stone) Sly Stone, the enigmatic R&B/funk icon, will share his story in a new memoir, Thank You (Falettinme Be Mice Elf Agin), arriving Oct. 17 via Questlove’s new publishing imprint, AUWA Books.
Stone co-wrote the new book with Ben Greeman, who’s written memoirs with George Clinton, Brian Wilson, and Questlove (he helped the Roots drummer with his three other books, too). Questlove — who’s directing a documentary about Stone — will also pen a foreword for Thank You (Falettinme Be Mice Elf Agin).
In a statement, Stone said, “For as long as I can remember folks have been asking me to tell my story. I wasn’t ready. I had to be in a new frame of mind to become Sylvester Stewart again to tell the true story of Sly Stone. It’s been a wild ride and hopefully my fans enjoy it too.”
Born Sylvester Stewart, Stone’s music career began when he was a child, singing in a gospel quartet with his siblings. In the Sixties, he worked as a radio DJ in the Bay Area, forming various soul groups, including the extremely successful Sly and the Family Stone. The group’s debut,A Whole new Thing, arrived in 1967, and that same year they released their first major hit, “Dance to the Music,” which anchored the band’s second album. Between 1967 and and 1982, Sly and the Family Stone released 10 albums, including classics like Stand! and There’s a Riot Goin; On.
But after the dissolution of the Family Stone, Stone struggled to find success as a solo artist while simultaneously battling drug addiction. Though he got sober, he receded from public life, making only sporadic appearances, like the band’s induction into the Rock and Roll Hall of Fame and a performance at the 2006 Grammys. In 2011, Stone released a new solo album, I’m Back! Family and Friends; in 2016, he received a Lifetime Achievement Award from the Grammys.
Thank You (Falettinme Be Mice Elf Agin) is one of several books on the initial slate for Questlove’s new AUWA Books venture. (The Farrar, Straus and Giroux imprint takes its name, by the way, from the bird-call noise Prince used on songs like “Baby I’m a Star” and “Eye No.”) Also on the docket: Questlove’s new book, Hip-Hop Is History, and a book from TikTok star Drew Afualo (both out in 2024).
This is major news for sure. If you’re of a certain age, Sly Stone’s music was the best. The true of story of what actually happened should be cataclysmic. The stories I’ve heard over the years encompass almost everything good and bad about the music industry. I hope the curtain is finally pulled back in this instance.
TICKET TO YOUNG — (Via Ultimate Classic Rock) Count Neil Young among those musicians who blame escalating ticket prices for ruining the concert industry. “It’s over. The old days are gone,” Young declared in a message posted to his Neil Young Archives website. “I get letters blaming me for $3,000.00 tickets for a benefit I am doing. That money does not go to me or the benefit. Artists have to worry about ripped off fans blaming them for Ticketmaster add-ons and scalpers.”
The acclaimed rocker’s message was accompanied by a story about the Cure and their recent battle with Ticketmaster. The ticketing giant earned the scorn of the goth rock band and their fans by adding several fees to ticket prices for the Cure’s upcoming North American tour. In some cases, these “unduly high” fees, as Robert Smith called them, resulted in the actual price of tickets nearly doubling from their face value. Ticketmaster eventually agreed to refund some of the cost.
“Concert tours are no longer fun,” Young opined, pointing to ticket fees and scalpers as the culprit. “Concert tours not what they were.”
Young’s thoughts about ticket prices are the latest in his ongoing list of gripes regarding modern touring. In December, the rocker reiterated his refusal to play at concert venues that use factory farms.
SHORT TAKES — Could Big Blue be coming back? Blockbuster for decades was the go-to spot for DVDs and video-tapes. Stay tuned …I love Keanu Reeves, but I must admit I’ve not seen any of the John Wick movies. Chapter 4 opened this past weekend with a $74 million+ score. Rather amazing in this post-covid period.
I pulled up the trailer and was terrifically impressed by the lush visuals; beautiful music and Reeves and Lance Reddick just sensational. I am thinking of a John Wick-weekend where I’ll watch all 4 … Writer/producer Terry Jastrow arrives in NY this week with his wife actress Anne Archer … Whatever happened to the Madonna biopic? You ask three different people and you get three different answers,. Check this one out from IndieWire: https://www.indiewire.com/2023/03/julia-garner-madonna-biopic-fingers-crossed-1234819696/ …
Personally, I don’t think Garner should do it. Mired in controversy already, could it really be any good? … GUESS WHO DON”T SUE: What up-and-coming metal band is using the name of a high-profile manager to score some Manhattan-gigs? They were going to work with the manager until it blew up. Simply shady if you ask me … btw: whatever happened to Wendy Stuart Kaplan? …
Friday was the last episode (for their inaugural season) of Apple TV+’s Shrinking which has just been so excellent in this its debut season. Jason Segal and Brett Goldstein have come up with the best show on streaming yet. Infectiously good and the acting turns from Segal and Harrison Ford are off the charts. The show culminated in a wedding for best-friend Brian (Michael Urie) and ended with a call-back to the show’s very first scene. Remember it? Truly a one-of-a-kind show. We loved it … I’ve heard at least 4 stories on the news this weekend about composting. Is this a hot topic now? Trending is it? … RIP Nicholas Lloyd Webber
NAMES IN THE NEWS –— Alex Salzman; Rob Petrie; Anthony Pomes; Terry Jastrow; Tyrone Biljan; Jacqueline Boyd; Bill McCuddy; Brad LeBeau; Nile Rodgers; Nancy Hunt; Steve Leeds; Terri Epstein; Brenda K. Starr; Tom & Lisa Cuddy; William Schill; Robert Funaro; Vinny Pastore; Maureen Van Zandt; Tricia Daniels; and ZIGGY!
Broadway’s A Doll’s House Meticulously Stunning Revival Soars Like a Birdie Above That Clumsy Cat on a Hot Tin Roof
For a revival to find its footing, it has to have a point of view or a sense of purpose far beyond an actor’s desire to perform a part, whether it suits them or not. It needs to radiate an idea that will make us want to sit up and pay attention. To feel its need to exist. And on one particular day in March, I was blessed with the opportunity to see not just one grande revival, but two. One was a detailed pulled-apart revolutionary revival of Henrik Ibsen’s A Doll’s House that astounded. The other, unfortunately, was a clumsy revival of Tennessee Williams’ Cat on a Hot Tin Roof that fell lazily from that high-wired peak – not for a lack of trying, but from a formulation that never found its purpose.
Relevantly Tuneless Fairytale Bad Cinderella Isn’t Bad, It’s Forgettable
You are seriously asking for it, when you make the title for your musical Bad Cinderella, however the show is not bad, it’s just seriously lacking. For an Andrew Lloyd Webber musical, which is normally rich in melody, the only song that has any kind of hold is “Only You, Lonely You” sung by Prince Sebastian (Jordan Dobson or in my performance the wonderful Julio Ray). The lyrics by David Zippel and book by Emerald Fennell, adapted by Alexis Scheer are inane. It doesn’t help that the cast for the most part speaks and sings with mouths full of cotton. The orchestrations sound tinny and computerized, The lead Linedy Genao has no charisma or vocals that soar musically, instead she is rather nasal, like Bernadette Peters with a cold. Why this show is two and a half hours long is beyond me.
The show is based in a town called Belleville (beautiful town en Francais), that is based solely on looks and prides itself on its superficiality. The opening number starts with “Beauty Is Our Duty,” the Queen (a fabulous Grace McLean) is into her hunks including her missing son Charming (Cameron Loyal).
And the fairy godmother (Christina Acosta Robinson) is a plastic surgeon who sings “Beauty Has a Price”. In a day and age, where we are suppose to see past all that, this show is politically incorrect.
Cinderella a Gothic, and a graffiti artist, naturally does not fit into the town’s mold of beauty, which is how she earns her nickname. Her rebel move happens when she defaces a memorial statue of Sebastian’s older brother, Prince Charming. Sebastian is more of a geek, and he and Cinderella are in the “friend zone,” since both lack communication skills in admitting their love.
Sebastian is being forced by his mother, the Queen to find a wife at a ball and invites Cinderella. Cinderella’s stepmother (the always remarkable Carolee Carmello) blackmails the Queen to get one of her daughters Adele (Sami Gayle) or Marie (Morgan Higgins) the gig.
McLean and Carmello are the bright spots in the show and if the show had been about these two, maybe we would actually have a show that could work. These two steal the show.
Cinderella has not one, but two what should have been show stopping numbers “I Know I Have A Heart (Because You Broke It)” and “Far Too Late,” but she does not have the vocals, the character development or the star power to carry them off.
The set and the revenge porn costumes by Gabriela Tylesova, are just over the top, with the storybook set faring much better than the over complicated flowered pastels that waltzed across the stage.
The direction by Laurence Connor is just dull and lacks oomph.
If you like buff men and Chippendale type choreography this is the show for you.
Bad Cinderella, Imperial Theatre, 249 West 45th Street.
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