Joel and Ethan Coen's Hail, Caesar! is predicated on a wonderful conceit. A cell of left wing screenwriters are hijacking Capitol Pictures. They've kidnapped one of its stars George Clooney and have even converted him to the Communist mantra.
We were all his 'favorite nephew'; and while his William Morris clients knew that he lavished equal care on his other stars, I expect that deep inside each somehow felt that she or he was Biff's own favorite.
When you think of what this radical change looks like, imagine Clark Kent changing into Superman, David Bannister turning into the Incredible Hulk, Eliza Dolittle becoming My Fair Lady; or, even the fictional person who meta-morphs into the Wolfman!
What are the Tonys here for if not to honor theatrical creativity? What creativity is there in remounting a production at its last home? Why is a revival that exactly duplicates a revival capable of being nominated?
When I decided to take in the late set of Marilyn Maye's recent New York City appearance, I assumed that I could slip in and out quickly and call it a night. Boy, was I surprised upon arrival to see the swelling crowd on Broadway, milling around the door of the Iridium Jazz Club.
My daughter doesn't remember Rabbi Heschel or Dr. King, but she knows the story of liberation that we tell every year, And some day she will tell the story of being a small part of the second inauguration of President Obama to her children.
If one were to look for unlikely social climbers in literature, one of the most obvious examples is Eliza Doolittle. The character created by George Bernard Shaw for 1912's Pygmalion was further immortalized in the 1956 hit musical, My Fair Lady.
A few weeks back, I read an announcement that the now white hot Colin Firth might be signing on for a re-make ofMy Fair Lady. Not since Steve Martin decided to put a new spin on The Pink Panther have I been so moved to ask, "Why?"