There is nothing like the electricity present on a Broadway opening night. Those in attendance at film premieres often say the audience feels charged. In the theater, the actors have a chance to pick up on that. That energy impacts them on the stage.
As the film opens, we see the restless Adele Bloch-Bauer sitting for a portrait by Gustav Klimt. Who would have guessed that a family portrait would become the center of an Austrian identity crisis? Especially a portrait of a Jewish woman. In 1998, Maria Altmann's sister Louisa is laid to rest. A
Does it matter that Woman in Gold, Simon Curtis' moving drama about a woman seeking the return of art the Nazis stole from her family 50 years earlier, seems stenciled from a familiar template?
It's been exactly nine years since the glorious day when Michael Govan, the newly appointed Director of Los Angeles County Museum of Art, greeted a larger than usual crowd at a press opening in March of 2006.
The restitution of Klimt's "Woman in Gold" to its rightful heir is a story of justice won, and a up-yours to Holocaust deniers and those who continue to enact violence against Jews and other peoples who value human life.
Last night I went to a dinner party at the home of Jim and Paula Miller; he is the Kolikoff Caviar guy I have written about.
Women crush it! How wonderful to have women leading the pack in an action flick.
The best evening out that you probably haven't heard about is going on every Wednesday night at Minton's, an old-fashioned supper club with equal emphasis on both words.
For one night, the regal and majestic qualities of royalty have you wondering about a world that never before felt so close at hand.
Just now, on two different stages roughly five blocks apart, on and off-Broadway, two different actors are playing Winston Churchill more or less wreathed in smiles.
In an episode of Prime Suspect, the gripping 1991 TV crime series, the remarkable Helen Mirren, playing DCI Jane Tennison, snaps at a detective who ad...
In Peter Morton's clever and humorous work of historic fiction, the queen moves in and out of time, not chronologically, waxing wise on world events, and with the wizardry of dressers, changes costume onstage.
The Audience gives us Ms. Mirren, but is likely to be a one-shot arrow. The star's performance is more than enough to carry the day, and carry the play, to surefire success; while Elizabeth The Queen has her supporters and her detractors, Mirren's canny and well-rounded performance is sure to garner unanimous huzzahs.
The Audience is polished to a fault, proceeding with clockwork efficiency from a little comedy to a little drama, from the personal to the political and back again. Not a moment of the play will actually surprise you. But the production of the play is faultless.
What brings people to the theater? I talk a lot about that each day with various producers and press agents. Of course, if anyone really knew an exact answer, many more shows would be successful. Instead we all try our best to guess.
The best art is that which holds a mirror to our lives. So if we as a society are aging, so too should the talkies. And here Hollywood teaches us one of the most critical lessons about turning global population aging into a sustainable source of economic growth.