Nathan Lane & Matthew Broderick’s Star Power Hastens Broadway Recoupment
UPDATE 12:03 p.m., adding more information below.
The surprise hit of the new Broadway season, a revival of Terrence McNally's opening-night comedy of bad manners It's Only A Play, has recouped its $3.9 million capitalization, the producers said today, after less than four months at the Shubert-owned Gerald Schoenfeld Theatre.
"We are delighted that Broadway audiences have embraced the laughter and hijinks of It's Only A Play,” lead producer Tom Kirdahy said in a… Read
Sting Puffs Up ‘Last Ship’s Sails To Boost Broadway Box Office
The ex-Police man stepped in to help his ailing show and the results were pretty instantaneous: Last week, the box office spiked to $818K -- a jump of $326K over the previous week, for its biggest week to date at the Nederlander-owned Neil Simon Theatre. That represented about 66% of its gross potential of $1.24 million.
Overall, the box office was steady, according to figures released by the trade group Broadway League. The total for 36 shows was $30.1 million, with… Read
Emma Stone & Her Astounding Peepers Star In ‘Birdman’, ‘Cabaret': Conversations With Jeremy Gerard
EXCLUSIVE: It's impossible to ignore Emma Stone's eyes. At least until she begins speaking, but we'll get to that. First, not to be reductive, but jeepers, creepers. Even, or especially, on a crummy December day, in office lighting at the taste-free conference room where we've met, them there eyes make me wonder: Are these the uncredited models for Tim Burton's Big Eyes? No, those Keane urchins are all pupil, while Stone is all iris, heather blue leaning toward… Read
Broadway Stunner: $8M ‘Side Show’ Reboot Will Shutter January 4
SECOND UPDATE, 7:29 a.m. with link to Today show appearance.
UPDATE, 5:25 a.m. with more information below:
The musical that poignantly poses the question “Who will love me as I am?” got its answer last night: Very few.
Side Show, the $8 million reboot of a 1997 flop about freak-show legends Daisy and Violet Hilton, helmed in his Broadway debut by Dreamgirls and Gods And Monsters director Bill Condon, will fold after the Sunday, January 4 matinee, the… Read
Justin Kirk Of ‘Weeds’ Scores In Pulitzer-Winner’s Engrossing ‘Invisible Hand’
More than a year after winning the Pulitzer Prize for Drama, Disgraced -- Ayad Akhtar's scorching play about identity politics in post-9/11 New York -- made it to Broadway this season, if in a somewhat flattened production. Now this young playwright has defied the laws of the Sophomore Jinx with The Invisible Hand, running off-Broadway in a production that shows beyond any doubt that this writer has a rare combination of perfect pitch for dialogue, a dazzling sense of the… Read
Urge For Going: Broadway Bristles Over Reporter’s Confession
“Is my crime that I do it, or that I 'fessed up?” the writer asks me. “I mean, whose dog did I poison?”
I'm speaking with journalist Joanne Kaufman, who prompted conniptions among the drama classes last week. A veteran freelance writer who contributes theater-related feature stories and profiles to the Wall Street Journal, Kaufman published an essay headlined “Confessions Of A Broadway Bolter.”
“I recently saw three Broadway shows in a single week,” the piece began… Read
Star-Powered ‘Love Letters’ Closing Broadway Run Sunday, Two Months Early
UPDATES with more information.
The Broadway revival of A.R. Gurney's Love Letters is wrapping its run at the Brooks Atkinson on Sunday after six preview and 95 regular performances.The two-hander had been slated to run through February 15.
The news… Read
Pulitzer Winner Paula Vogel Signs With WME
EXCLUSIVE: Paula Vogel, a prolific and engaging writer, won the Pulitzer Prize in 1998 for her drama How I Learned To Drive, which co-starred Mary-Louise Parker and David Morse in a time-spanning play about a young girl's relationship with her predatory uncle.
Vogel currently is playwright in residence at the Yale Repertory Theatre and artistic associate at the Long Wharf Theatre, both in New Haven, CT. Work in progress includes a commission for Yale Repertory (based on Th… Read
‘The Elephant Man’ Video Review: Jeremy Gerard On Bradley Cooper’s Vivid Revival
A few weeks go, Bradley Cooper told me that seeing John Hurt's Oscar-nominated performance in the film The Elephant Man inspired him to become an actor. And so the back end of 2014 finds Cooper, a top Hollywood star, with the title role in Clint Eastwood's American Sniper, which slated to open Christmas Day. That high-profile role follows Cooper's celebrated recent film roles, including American Hustle, Silver Linings Playbook and The Hangover franchise. So what's he… Read
Broadway Box Office: Tuners Sing The Blues With ‘Matilda’ Off $526K
Smarty-pants Matilda and her nasty crew had some good news and some bad news over the last few days. First the bad news: In a tough week for Broadway musicals, Matilda was off a bit over $526K, while still taking in a better-than-respectable $928K at the Shubert Theatre last week. On the bright side, the Royal Shakespeare Company import announced that the show, co-produced in New York with the Dodgers, has recouped the $16 million it cost to bring the show to… Read
Bradley Cooper’s Regal ‘Elephant Man’ Is Silver Lining For Broadway Revival
Bradley Cooper says that John Hurt's portrayal of John Merrick in the 1980 film The Elephant Man made him decide to become an actor. It's not hard to figure out why: Here's the true story of a grotesquely deformed man living the sordid, squalid life of a freak-show exhibit in late 19th-century England until he's rescued by Frederick Treves, an empathetic society doctor. Determined to “civilize” him, Treves introduces his increasingly famous patient to the best of London… Read
Emma Stone Razzle-Dazzles ‘Em As Sally Bowles In ‘Cabaret’
Tell Mama, tell Papa, tell the kinder: Emma Stone, sensational onscreen as Michael Keaton's naughty Broadway baby in Birdman, makes her real Broadway debut as a smashing Sally Bowles opposite the indomitable Alan Cumming, in Cabaret. From her high-spirited entrance at the Kit Kat Klub singing “Don't Tell Mama” through the finale, in which this wide-eyed siren turns John Kander and Fred Ebb's title song into a scorching burst of anger and anguish, Stone makes Sally… Read