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Broadway’s Bernadette Peters turns 70

Bernadette Peters replaced Tony winner Bette Midler in Hello, Dolly!

I was watching The Carol Burnett 50th anniversary special in December 2017. Carol noted that Bernadette Peters was on her very first episode on 11 September 1967. How could that be?

Because Ms. Peters was a member of the Actors Equity union the age of nine, with two television credits from 1958! Moreover, she was in two short-lived roles, and was an understudy for a third, on Broadway before she first made the Burnett show, uncredited. She made at least ten more appearances.

Bernadette Peters is a Broadway legend who has won Tony Awards for her performances in Song and Dance (1985) and in the 1999 revival of Annie Get Your Gun.

Her numerous other Broadway credits include starring roles in Into the Woods, Sunday in the Park with George, and Gypsy. She is considered by theater critics to be among the best interpreters of Stephen Sondheim’s work.

The actress, born Bernadette Lazzara, also made her mark in movies such as The Jerk and Pennies from Heaven, both with Steve Martin, whom she dated from 1977 to 1981. And she was in Annie (1982) with the aforementioned Carol Burnett.

Peters married investment adviser Michael Wittenberg on July 20, 1996. He “died at age 43 on September 26, 2005, in a helicopter crash in Montenegro while on a business trip.”

She has recorded six albums, performed in many concerts and serves on the Board of Trustees of Broadway Cares/Equity Fights AIDS, among other works.

Starting on January 20, 2018, she has been starring in Hello, Dolly, an iconic role that been played by Barbra Streisand on screen, and Ginger Rogers, Ethel Merman, Pearl Bailey and, of course, Carol Channing on stage. She replaced Tony winner Bette Midler; Victor Garber follows David Hyde Pierce as Horace Vandergelder.

Charles, who directed me in Boys in the Band way back in 1975, saw the current production and declared it “spectacular.” He said, “Bernadette Peters has grown into a mature, comic actress who can also break your heart.”

Happy birthday to a performer who is still going strong, Bernadette Peters.

Academy Award nominations for 2017

I wish The Florida Project had gotten more love

Life being what it is, I’ve only seen six of the nine Best Picture nominations so far. That won’t keep me from picking who will, and should, win. I’ll limit this to the major categories.

Worse, I have watched ZERO of the five animated feature flicks, though I wanted to see the inevitable winner, Coco, and Loving Vincent, which looked fascinating in previews.

Links to my reviews at first mention:

Best Picture:

Call Me by Your Name (pictured)
*Darkest Hour
Dunkirk
Get Out – getting buzz after Writers’ Guild award
*Lady Bird – with ranked voting, and some people hating Shape of Water and/or Three Billboards, this, or Get Out, could actually win
*Phantom Thread
*The Post
*The Shape of Water
*Three Billboards Outside Ebbing, Missouri – my personal favorite

Lead Actor:

Timothée Chalamet, Call Me by Your Name
*Daniel Day-Lewis, Phantom Thread
Daniel Kaluuya, Get Out
*Gary Oldman, Darkest Hour – will win, and probably should
Denzel Washington, Roman J. Israel, Esq.

Lead Actress: I’ve seen then all!

*Sally Hawkins, The Shape of Water
*Frances McDormand, Three Billboards Outside Ebbing, Missouri – my pick, and will likely win
*Margot Robbie, I, Tonya
*Saoirse Ronan, Lady Bird
*Meryl Streep, The Post

Supporting Actor:

*Willem Dafoe, The Florida Project – wish this film had gotten more love
*Woody Harrelson, Three Billboards Outside Ebbing, Missouri
*Richard Jenkins, The Shape of Water – my favorite performance in that film
Christopher Plummer, All the Money in the World – best replacement actor at the last minute, standing in for Kevin Spacey
*Sam Rockwell, Three Billboards Outside Ebbing, Missouri – he’s deserving of the win he’ll likely get

Supporting Actress:

Mary J. Blige, Mudbound
*Allison Janney, I, Tonya – will and should win
*Lesley Manville, Phantom Thread – she was very good
*Laurie Metcalf, Lady Bird – so was she
*Octavia Spencer, The Shape of Water

Director:

Dunkirk, Christopher Nolan
Get Out, Jordan Peele
*Lady Bird, Greta Gerwig – I’m rooting for the first-time director
*Phantom Thread, Paul Thomas Anderson
*The Shape of Water, Guillermo del Toro – won the Director’s Guild award, which makes him a virtual lock

Adapted Screenplay:

Call Me by Your Name, James Ivory – it’s the only Best Picture nominee in the lineup, and Ivory is 89
The Disaster Artist, Scott Neustadter, and Michael H. Weber
Logan, Scott Frank and James Mangold, and Michael Green
Molly’s Game, Aaron Sorkin
Mudbound, Virgil Williams and Dee Rees – if it isn’t Ivory…
.
Original Screenplay:

*The Big Sick, Emily V. Gordon and Kumail Nanjiani – I was rather fond of this
Get Out, Jordan Peele – I’m picking the one film I didn’t see to win
*Lady Bird, Greta Gerwig
*The Shape of Water, Guillermo del Toro, Vanessa Taylor – suffers from a recent plagiarism allegation
*Three Billboards Outside Ebbing, Missouri, Martin McDonagh
***
Did the Oscars Blow Its Big Bet?

Bess Flowers – She appeared in 5 Oscar-winning films and appeared in 23 Oscar-nominated films. She worked with all the best directors. Plus a lot more movies, TV and commercials. And 25 Three Stooges shorts.

Movie Theaters Are Dying Because They Mostly Suck

Sure to be In memorium: John Gavin, Actor in ‘Psycho’ and ‘Spartacus,’ Dies at 86

Movie review: I, Tonya [as in Harding]

We thought that Margot Robbie captured the essence of Tonya Harding,

Some movies are more difficult to review than others, and I, Tonya is one of them. On one hand, it is a humorous film, making good use of the of the fourth wall to tell a story, or stories – it embraces its differing points of view – about what is referred to as The Incident, the injuring of skater Nancy Kerrigan by people around Tonya Harding.

On the other hand, it’s a lot about the abuse Tonya (Oscar-nominee Margo Robbie) withstands, first at the hands of her never satisfied mother LaVona Fay Golden (probable Oscar winner Alison Janney), then by her husband Jeff Gillooly (Sebastian Stan) in their odd love/hate relationship.

As someone who watched a LOT more figure skating in the day than he really cared about, I know it was also about how the girl from the proverbial wrong side of the tracks in Portland, OR never having the right “look”. Her skating was athletic – she was the first American woman to complete a triple axel in competition – but she lacked the grace, the elan that the skating community wanted to show.

I asked my local expert, my wife, what she thought of Robbie’s portrayal of Harding. She thought, and I concurred, that she captured the essence of Tonya, though she wasn’t as sinewy as the skater. We agreed, though, that the folks playing Tonya’s mom and husband, and especially Gilhooey’s lunkhead friend Shawn (Paul Walter Hauser), were spot on.

I continue to be amused by the fact that some people get up from the theater as soon as the credits begin rolling, even when those credits are paired with clips of the real people – Tonya, Jeff, LaVona, Shawn. Shawn really DID think he was a world-class international spy.

I liked the film because Tonya eventually overcame what was essentially a rigged system to become one of the best skaters in the world. She was turned into a national joke – the film Tonya points to a real David Letterman Top Ten – because of a ridiculous and ineptly executed plan not of her design. She was banned from participating in the only thing to do what she knew how to do, yet she survived.

I, Tonya speaks of the curse of celebrity, with the swarm of reporters camped outside her door for a time. A television infotainment reporter (Bobby Cannavale) admits how the medium sensationalized that narrative until the Next Big Thing came along.

And, as noted, I did love the storytelling device of the film. Tonya talks about all the specific difficult things she went through to train for the 1994 Olympics, and her coach Diane Rawlinson (Julianne Nicholson) looks into the camera and says, “And she did!” I laughed aloud through much of the dark comedy.

My wife, who wanted to see the film more than I, enjoyed it less, because of all that Tonya went through, starting at age of four. Of course, we saw this at the Spectrum Theatre in Albany.

Movie review: Phantom Thread

When my wife and I saw Phantom Thread at the Spectrum Theatre in Albany one Saturday afternoon in February, I was not quite sure what the title meant. Was it the secret messages that he sewn into each piece of apparel he makes? Maybe.

Or perhaps it’s the emotional push and pull of the three primary characters. Reynolds Woodcock (Daniel Day-Lewis) is a renowned dressmaker in 1950s London. The confirmed bachelor decides that his current girlfriend needs to be sent away because her capacity to inspire him has diminished.

Then he meets a somewhat awkward young woman Alma (Vicky Krieps) who he attempts to mold based on his needs. Buttering toast never sounded so loud. But she is more strong-willed than she appears at first.

His sister Cyril (Lesley Manville), my favorite character, is his majordomo; almost everything runs through her, which was confusing/frustrating to Alma for a time.

The relationship between Reynolds and Alma operates on two speeds, great love and irritated indifference on his part, the latter tied to his fastidious creative process. Alma understands the latter but obviously prefers the former and does what she needs to foment it. It is, let’s say, a dysfunction romance.

The movie looks marvelous, with great use of color. Reynolds looks great, even when he ought not, and Alma is transformed. I liked it well enough to recommend, though it is at 130 minutes, a little slow, especially in the beginning. Its R rating is for the occasional F-word.

Phantom Thread is Paul Thomas Anderson’s eighth movie, and his second collaboration with Daniel Day-Lewis, the first being There Will Be Blood (2007), which I did not see. I have seen Andersen’s Punch-Drunk Love (2002) and Boogie Nights (1997).

Whether or not this turns out to be Daniel Day-Lewis’ last film, he’s deserving of the Oscar nod here, though he will not win. I discovered that I saw him in several films – Gandhi (1984), A Room With a View (1985), and My Beautiful Laundrette (1985) – before I really knew his name.

I watched his breakout role in My Left Foot (1989) for which he would win an Oscar. It’s likely I saw The Age of Innocence (1992) and In the Name of the Father (1993) at the Spectrum, but I never saw him again until Lincoln (2012).

Oscar-nominated short films: Live action

The first, third, and fifth movies all were based on true stories and suggested the possibility of violence.

All the short films my wife and I saw at the Spectrum in February 2018 were quite good. Dekalb Elementary (USA – 20 minutes) involved a 2013 school shooting incident in Atlanta, GA. It was really intense, but the lead female’s role was remarkable.

The Silent Child (UK – 20 minutes) is about a profoundly deaf four-year-old girl, whose busy middle class family care for her. But she lives in a world of silence until a caring social worker teaches her how to communicate. The arc of this story was very touching, and a bit heartbreaking.

My Nephew Emmett (USA – 19 minutes) is set in 1955 and based on the true story of a Mississippi preacher who tries to protect his 14-year-old nephew. I knew almost immediately, though my wife did not, what this story was all about, which I suppose lessened the impact only slightly.

In The Eleven O’Clock (Australia – 13 minutes), the delusional patient of a psychiatrist believes he is actually the psychiatrist, and they end up analyzing each other. As the only comedy, and a cleverly funny one at that, it broke up the tension in the theater somewhat.

Watu Wote – All of Us (Germany/Kenya – 23 minutes). “For almost a decade Kenya has been targeted by terrorist attacks of the Al-Shabaab. An atmosphere of anxiety and mistrust between Muslims and Christians is growing. Until in December 2015, Muslim bus passengers showed that solidarity can prevail.”

The first, third, and fifth movies all were based on true stories and suggested the possibility of violence. DeKalb was probably my favorite among these, but I suspect Wote Watu will win the Oscar because it’s so timely.

As a teacher of English as a New Language, my wife really related to The Silent Child, knowing children often need advocates when they are “different.”

The one thing I hated in the presentation is that, during the closing credits, they had videos of the filmmakers hearing that they’ve been nominated for Academy Awards. It really ruined the mood, especially the stirring end music of Wote Watu. Now if they’d run the clips AFTER each the credits, it would have been better, serving as a brief respite before another heavy topic.

Nevertheless, a very good crop of films.