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The stunt performers and coordinators from “Wonder Woman 1984” and “The Mandalorian” are this year’s Screen Actors Guild Awards® honorees for Outstanding Action Performances by Film and Television Stunt Ensembles, it was announced today during the first half of the official PEOPLE, Entertainment Weekly & TNT: Screen Actors Guild Awards Pre-Show by 27th SAG Awards Producers Jason George (Station 19, Grey’s Anatomy) and JoBeth Williams (The Big Chill, Poltergeist).

The Stunt Ensemble Honors commend work within the stunt community during 2020* and recognize stunt performers and coordinators. Nominees, as chosen by their respective SAG Awards film and television nominating committees, were announced on Sunday, April 4, 2021. Balloting closed at 12 p.m. on Tuesday, March 30, 2021. Integrity Voting Systems, the Awards’ official election firm, sealed the results until the moment they were revealed.

*SAG Awards Eligibility Period: January 1, 2020 – February 28, 2021 The recipients for this year’s Stunt Ensemble honors are:

Outstanding Action Performance by a Stunt Ensemble in a Motion Picture

WONDER WOMAN 1984

Outstanding Action Performance by a Stunt Ensemble in a Comedy or Drama Series

THE MANDALORIAN

ElizaBeth Taylor is a journalist for Times Square Chronicles and is a frequent guest at film, fashion and art events throughout New York City and Los Angeles due to her stature as The Sensible Socialite.Passionate about people ElizaBeth spent many years working as a travel reporter and television producer after graduating with high honors from University of Southern California. The work has afforded her the opportunity to explore Europe, Russia, South America, Asia, Australia and the Middle East. It has greatly influenced the way in which ElizaBeth sees a story and has created a heightened awareness for the way people around the world live today.

Cabaret

My View: David Marino Makes His Debut at Birdland

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Last night David Marino made his debut at the legendary BIRDLAND Jazz Club in the heart of New York City.  It was certainly an exciting night for the charismatic 23 year old who hails from Montreal, Quebec, in Canada. David was a finalist on LA VOIX (The French Canadian Edition of THE VOICE).

Birdland was filled with family, friends and plenty of New York notables, including owner Gianni Valenti and we were treated to standards in English and French and learned about David’s journey with music. A journey that first began when as a child his father played Gershwin’s “They Can’t Take That Away From Me” for him.  He got emotional while telling that story with his Dad there in the audience, and it was quite moving. This kid would appear to have the right stuff for a bright future, and starting out with Billy Stritch as his musical director with some of the best musicians in NYC was an excellent choice for his first time here on 44th street, at an address the entire world knows.  Here are some photos from David’s debut at Birdland.

DAVID MARINO

DAVID MARINO

DAVID MARINO

BILLY STRITCH & DAVID MARINO

DAVID MARINO

DAVID MARINO

DAVID MARINO & RICHARD JAY-ALEXANDER

MARILYN MAYE, RICHARD JAY-ALEXANDER, EDA SOROKOFF

STEPHEN SOROKOFF, NICOLAS KING, SETH SIKES

RICHARD JAY-ALEXANDER, NICOLAS KING, SETH SIKES

SETH SIKES, EDA SOROKOFF, NICOLAS KING

BIRDLAND

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Food and Drink

Blu On The Hudson The Destination For a Perfect Dinning Experience

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I first wrote about Blu On The Hudson 8 months ago. This perfect mini vacation, is one stop on the 158 bus or a ferry ride away. Located on the Hudson River, at 1200 Harbor Boulevard, in Weehawken, you will find breath taking views, a calming atmosphere and food that rivals  the best 4 – 5 star restaurants in Manhattan.This is the spot where Arron Burr shot Hamilton.

Blu on the Hudson is spacious with over 30,000 square foot, so far, but they are creating a space that I was lucky enough to see. This glass enclosed and outdoor upstairs will rival every wedding, event space within a 2 hour drive.  I am letting you know, now is the time to book your event before it is booked out.

Blu Hospitality Group, truly wants to impress you and goes out of their way to do so. You are greated by a specious luxurious space and a large fireplace.

Beautiful walls, several dining room with views, alcoves for a intimate dinning moments and bar that you will want everyone to know your name, awaits. High ceilings and modern decor makes everyone who enters forget their stress and just relax. You can feel your body ease.

From moment one, you are made to feel like Blu’s welcomed and invited guests.

Sarah

My server Sarah was a prime example of this.

Starting off the experience, my guest, writer and friend Craig and I decided to indulge with cocktails. I had the Oil On The Skin ($16) made with Aperol, Strawberry, Grapefruit and Prosecco. This was refreshing and the perfect summer drink. Craig, who was excited by the amount of Tuffle inspired food and drink choices ordered the Blu Seasonal Black Truffle Bloody Mary ($18) and was thrilled. Spicy, with garnishes that made this drink an appetizer in itself had sure this brunch was already a hit.

When looking at the menu I knew we had to try the Ricotta Stuffed Pancakes ($21). Topped with a Blueberry Compote and served with organic Maple Syrup, these surpassed my expectations. The ricotta had a lemon zest, the pancakes fluffy with crispy edges. I was already imitating Sally in the film “When Harry Met Sally” after my first bite. I will definitely be coming back, for this alone.

Already on a bacon kick thanks to David Burke, I also wanted to try the Thick Cut Wagyu “Bacon” ($26), that is slow cooked in a soy caramel glaze. This is only served at dinner, but luckily I got to try this. With a savory salty crunch, this was the perfect compliment to the pancakes. Sweet, then savory, crunchy, then tender, what Blu offers the dinning experience is a sensual layered, all senses dive, into carnal pleasures.

I now needed the perfect Iced Coffee and again the simplest of needs had a taste sensation.

For entree’s more truffles for Craig with the Truffled Mushroom Omelette ($22) filled with White Cheddar, egg whites and one yolk served with a side salad. Craig was in heaven with his light as a feather, but flavorful dish.

 

Craig also ordered the Parmesan Truffle Fries ($12), and I am so glad he did. These were bite fulls of erotic delights.Loving artichokes, I ordered Eggs on Artichoke ($24), which consisted of poached eggs, pecorino, roasted tomatoes in a light béarnaise sauce. The piece de resistance of this dish, were the lightly fried artichokes that added texture, then melted into your mouth with a pop of flavor. Even the roasted tomatoes added an arousing impact to the tongue. When food is done well, sex definitely comes second.
The fabulous warm and inviting manager Andrew, wanted us to try his favorite dish, the Jumbo Lump Crabmeat and Shrimp Cobb Salad ($29). Topped with Deviled Eggs, Bacon, Tomatoes, Corn and Avocado, this was served over Market Greens and a feast to behold. The crabmeat was tender and the shrimp succulent, but the surprise here was the corn, which added so much to the dish. This is great luncheon entree when you want to indulge and also stay healthy.

Now I was so full, I was not going to do desserts, but feast or famine and feast it was. The adorable Sarah made sure we were given these beautiful dishes to indulge.

First up the Tiramisu ($14), which is one of the best I have ever had. Extra creamy and not overly sweet. An added layer of thin chocolate added to the decadence. This dessert also puts on a show.

The most luxurious, extravagant haven of food for the senses has to be the Chocolate S’Mores ($14). Served with a gluten free graham cracker crust, Chocolate Mouse and Marshmallow. Tiny chunks of sea salt make this decadent and sweet, with pops of indulgence.

A coffee ($6) ended our foray of culinary ecstasy. To quote myself from my last experience at Blu “Food and sex have always gone hand in hand and eating at Blu On The Hudson, will make all your senses take flight. This restaurant potions of food, drinks and presentation justify and make the whole experience worth the trip and the cost.”

To Executive Chef Juan Carols Ortega, you make my body sing with your creations. This is definitely one of my favorite places to eat. Blu is exquisite perfection.

You can follow Blu on The Hudson at @bluonthehudson.

 

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Celebrity

The Glorious Corner

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G.H. Harding

TRUMAN’S SWANS — I only know Ryan Murphy by reputation. He’s been the flavor-of-Hollywood for quite some time now; yet a devil-may-care attitude persists in his CV. I loved his Nip/Tuck which just defied expectations on every level; terrific acting from Dylan Walsh and Julian McMahon, and just the wildest plots I’ve ever seen.

From there Hollywood started throwing money at him left and right; American Horror Story and Hollywood (with Jim Parsons) followed. Also, the anthology series-Feud which began with the “feud” between Joan Crawford and Bette Davis and was succinctly thrilling.

Now, Feud is chronicling Truman Capote and his “feud” with his Swans; featuring mainly a terrific performance by Noami Watts as Babe Paley. Calista Flockhart; a devilish-Diane Lane and Chloe Sevigny are also there as the other swans. Director Gus Van Sant (Drugstore Cowboy) directed several episodes and it is, without a doubt, the best thing Murphy has done and I’ve seen in quote some time.

One episode is entirely shot in black-and-white, a risky-gamble for anyone … but, it pays off handsomely.

Tom Hollander as Capote is simply off the charts and is, I believe, one of the best performances I’ve ever seen.As a young writer, there were two writers I was absolutely captivated with: Dominick Dunne and Capote. Dunne I met and he was everything I hoped him to be, Capote, never. The Swans is a long, long story and I urge you to look further into it. Capote, truly self-destructive, became an appendage of them all and they all told him everything, some of which he wrote about is Esquire (La Cote Basqu”-1965) exposing their innermost secrets and thereby severing the relationship.

Just a brilliant, brilliant series, Murphy’s crowning touch.

Sanford Townsend Band

SHORT TAKES — In my final few weeks working from home, I finally dialed up ROKU’s Yacht Rock station after initially being somewhat repelled by the term. Turns out, it really means soft rock and I’ve heard everything from Hall & Oates to the Sanford Townsend Band (big favorite) and lots of Steve Winwood; Eagles; Al Stewart; and Chicago.

Not bad actually. Guess I really am old … Micky Dolenz does an interview with NPR’s Lillian Galvez today and BreakfastWith The Beatles’ Chris Carter on March 31 before his show at LA’s Troubadour on April 5 … The Rascals people Got To Be Free tour at the Patchogue Theater on April 26; Keswick Theater on April 27; and SONY Hall in NYC on May 17 …

James Gunn’s Superman: Legacy movie has been re-named Superman; and has cast Wendell Pierce (The Wire; Tom Clancy’s Jack Ryan) as Perry White. And remember, Rachel Brosnahan is Lois Lane! … Keith Richards singing Lou Reed’s immortal classic “I’m Waiting For The Man” is so excellent. Take a look: https://variety.com/2024/music/news/keith-richards-covers-waiting-for-the-man-lou-reed-tribute-1235927738/

Lou Reed

The track appears on a Lou Reed tribute album that also features Angel Olsen, Lucinda Williams, Joan Jett and the Blackhearts, Rufus Wainwright, Rickie Lee Jones, Rosanne Cash and others. It arrives April 19 — with a special Record Store Day edition arriving the following day — on Seattle’s indie Light in the Attic Records (which was chosen by the late artist’s estate to handle his reissues and got a Grammy nomination for the “Words & Music: May, 1965” album). Booklet features liner notes by compilation producer & former Lou Reed publicist Bill Bentley, featuring photos by Mick Rock and Timothy Greenfield-Sanders. Said Richards: “To me, Lou stood out. The real deal! Something important to American music and to ALL MUSIC! I miss him and his dog” …

Micky Dolenz and Chris Carter

SIGHTING: Micky Dolenz and Alison Martino at the Catalina Jazz Club watching Jimmy Webb … And, we watched the awesome Jeffrey Wright in American Fiction and loved it until the end. It’s almost as if writer/director Cord Jefferson couldn’t figure the right ending, so he portrayed three. Pretty weird for sure, but a staggeringly excellent performance by Wright, Erika Anderson and Sterling K. Brown.

NAMES IN THE NEWS — Nancy Jeffries; George Michael; Helene Blue; Monica Lynch; Thomas Silverman; Tom & Lisa Cuddy; Alexa Blake; Joe Bonadonna; Andrew Sandoval; Race Taylor; Scott Shannon; Dan Ingram; Bruce Morrow; Wolfman Jack; William Schill; Ed Steinberg; Chris Carter; and CHIP!

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Off Broadway

Friedlich’s Downtown “JOB” Standoff Soars Sharply with Great Aim

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On a very sharply defined theatrical space, downtown at the Connelly Theater on E4th St., a psychological standoff is what immediately snaps us deep into the emotionally volatile and fascinating world of JOB, the thrilling, critically acclaimed play by Max Wolf Friedlich (SleepOver) that is getting an encore engagement after playing a sold-out, twice extended off-Broadway run last fall at the Soho Playhouse. Working this through in real-time, the play is a tense, tight, and tumultuous zooming in on mental health and the workplace, when one young tech worker, played to frayed perfection by Sydney Lemmon (“TÁR“, “Succession”) is mandated to seek the services of a crisis therapist, fascinatingly well-played by Peter Friedman (PH’s The Treasurer; “Succession”).

Peter Friedman and Sydney Lemmon in JOB at SoHo Playhouse. Photo by Emilio Madrid.

Directed with clarity and cleverness by Michael Herwitz (MV Playhouse’s The Campaign That Failed), the setup and startup of this armed and well-aimed play grab hold quickly and miraculously, digging us sharply into the space, designed to claustrophobic perfection by Scott Penner (Coal Mine’s Dion: A Rock Opera), with exacting costuming by Michelle Li (Comedy Central’s “Awkwafina is Nora from Queens”). The play puts us off balance, making us lean in to try to understand what is bringing these two together; Lemmon’s Jane and Friedman’s Loyd, in this room with such overwhelming anxiety. It’s wisdom and shame connecting and colliding, setting up a chaotic and life-threatening game of chess, using paradigms and conflictual standings between generations, genders, and political viewpoints.

Peter Friedman and Sydney Lemmon in JOB at SoHo Playhouse. Photo by Emilio Madrid.

Something has sent this young female big tech employee over the edge, causing a viral unhinged meltdown that we only secondhand hear about, but it is clearly a scream into the internal void about something overwhelming and disturbing. We assume, like the therapist, that Jane’s job, the one she has been put on leave from and the one she is desperate to get back to, is the cause, and the more we hear and learn, the more we understand, or at least, we think we do.

It’s a sizzlingly tight psychological dive into trauma and destruction, beautifully enhanced by the strong and jarring lighting design by Mextly Couzin (MCC’s Which Way to the Stage) and the clever intrusive sound design created miraculously by Jessie Char and Maxwell Neely-Cohen (Fake Friends’ Invasive Species). The sharpness to examine our vantage points is alarmingly pulling, forcing us to try to make sense of all the voices and sounds rattling around in the red light pulsations that become red siren flags and weapons used against our senses, aiding our discomfort but forcing us to lean in more to the frantic essence of a person overwhelmed.

Sydney Lemmon and Peter Friedman in JOB at SoHo Playhouse. Photo by Emilio Madrid.

As a psychotherapist myself (in my real world), the play connected deeply to so many difficult dilemmas and challenges that step into the shared space of the therapy room. The passionate counterarguments and denials of need are well-known engagements, and I couldn’t help but find fascination and connectivity to their standoff, even as they both lean in and away from one another from one minute to the next. The two actors are spectacularly detailed in their stance, both physically and mentally, moving around the “all-time therapy classic” square with precision and expertise.

Returning and wrapping themselves around one another to points made, the twist and dig into the darkness of the web and the idea around an obligation to help, on both sides, become increasingly life-or-death, as the armed walls of JOB keep crumbling and rising with a vengeance. The doctor/patient paradigm is a forever shifting perspective in this captivatingly killer of a play, registering completely under the climax, which doesn’t feel fully formed in its finale. With screams into the dark making more sense with each reveal and wrap-around, Max Wolf Friedlich’s JOB leaves us electrically off balance, wondering and wanting maybe a bit more reversal of fortune in those last few moments, but most assuredly satisfied in the leaving of that room at the end of this complex and captivating ‘session’.

The provocative dark comedy, JOB will play from January 19 through March 23, 2024, at the Connelly Theater (220 East 4th Street). https://jobtheplay.com/

For more go to frontmezzjunkies.com

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Broadway

Ken Fallin’s Broadway: Sarah Paulson in Appropriate

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Branden Jacobs-Jenkins’ Appropriate not only got a second extension, but transferred  theatre. Slated to close March 3 at the Hayes Theater, Appropriate will now play a 13-week engagement at the Belasco Theatre, with performances beginning March 25. The strictly limited run will continue through June 23. The reason for the transfer was Paula Vogel’s Mother Play, was already slated to perform.

To read T2C’s review of Appropriate  click here and here.

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