Joe's View

With Joe Meyers, entertainment writer

Archive for November, 2010

‘Unanswered Prayers’: the road you didn’t take

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Does anyone remember the Sissy Spacek-Kevin Kline movie, “Violets are Blue”?

It was a 1984 flop — written by Naomi Foner (mom to Jake and Maggie Gyllenhaal) and directed by Jack Fisk — that rarely turns up on TV these days and has never appeared on DVD, but is fondly recalled by at least one person who saw it.

The movie is about the lure of an old love that never lasted. The characters played by Kevin Kline and Sissy Spacek were crazy about each other in the late 1960s but went their separate ways — she became a photojournalist, he took over his dad’s beach resort newspaper.

15 years later, Kline is happily married to Bonnie Bedelia when Spacek returns home for a visit. She has never married — too busy with her career — and he starts to wonder if he settled down too quickly and might have a second chance with Spacek (and a much more exciting career as a journalist if he takes off with her).

I thought about the movie for the first time in decades when I watched a preview of a new made-for-Lifetime film debuting tonight at 9 p.m. — “Unanswered Prayers” — that is strikingly similar to “Violets are Blue.”

It’s another well-written and well-acted examination of people pushing 40 who wonder if they should have taken another road 20 years earlier. Like the golden oldie from 1984, the new film treats the dilemma intelligently  and doesn’t harshly judge the adulterous impulses between old lovers who have long been separated.

Eric Close (above) stars as Ben Beck, Samantha Mathis (above, left) is his wife Lorrie, and Madchen Amick (top) is Ben’s high school girlfriend, Ava Andersson, who left the small Virginia town (and Ben) for greener urban pastures elsewhere.

Ava returns to town when her mother dies and she and Ben begin to wonder if they made the wrong choices.

It’s a potent, timeless theme, and Lifetime has done a good job of casting and producing a movie with a real sense of place (actual Virginia locations rather than a Canadian substitute). Ben and Ava don’t go as far as Sissy and Kevin did in “Violets are Blue” but their flirtation threatens Ben’s marriage.

The movie’s title is derived from a 1990 Garth Brooks hit — about a husband who is glad his prayers to get an old girl friend back went unanswered — and the singer served as executive producer.

“Unanswered Prayers” is another example of Lifetime pushing beyond its old label “television for women,” which often meant soapy movies in which men were guilty until proven innocent. All three of the troubled characters in tonight’s film are given a very fair treatment by director Steven Schacter and writers Deena Goldstone and Joyce Eliason.

The return of David Campbell

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The good news is that Australian singer-actor David Campbell has returned to the United States with a new CD and a cabaret tour.

The bad news is that Campbell’s East Coast stint is a brief one — a five night gig at Manhattan’s Feinstein’s at the Regency that starts tonight.

A little more than a decade ago, when he was only in his mid-20s, Campbell created a sensation on the New York cabaret scene with a series of club dates that pushed him from the small (and now defunct) Eighty Eights to the Rainbow Room in record time.

He went on to appear in an Encores! production of “Babes in Arms” at City Center and then starred in the New York premiere of Stephen Sondheim’s previously unproduced debut musical “Saturday Night” at Second Stage. (Both of those shows were recorded.)

Just when he seemed to have conquered the town, Campbell returned to his native Australia where he proceeded to become a major stage and concert star.

Campbell never got around to doing a show on Broadway during his time in New York, but in a recent phone interview from Australia the performer said he would still like to find the right show for an extended stay in Manhattan.

The new CD “On Broadway” and a companion documentary he did for Australian television has whetted his appetite for the genre after the forays into pop, soul and big band music that have made him a star in his native country.

He viewed the recording as a bit of an education for his fellow Australians in the history and the power of Broadway.

“People in New York think everyone knows everything about Broadway,” Campbell said.

“Their idea of explaining the history of Broadway is Julie Andrews saying, ‘Of course, Ethel did this next…” he said, chuckling of the homegrown PBS approach to American musical theater.

“I didn’t think that was very inclusive, so I wanted to do my own bit of history and explain (to Australians) why it (Broadway) is so important,” he added.

The spectacular CD “On Broadway” — released in the United States by Sony Masterworks — also serves as a mini-history of Broadway complete with an overture and songs spanning the Golden Age of the 1940s and ’50s, as well as the Sondheim era of the 1970s (the singer does an awesome version of “Being Alive”).

Campbell looks to the future as well, with a terrific tune called “Goodbye” from the forthcoming musical “Catch Me If You Can.”

The Broadway album follows a series of very popular Australian CDs devoted to swing and the music of the 1960s. Campbell takes great care with the sequencing of songs on his recordings, giving them the same sort of “concept” feeling that made the Frank Sinatra Capitol albums of the 1950s such milestones.

“We’re in a time where not many people notice or recognize an album as an art form,” he said of this current age of song-by-song downloads from iTunes and other music purveyors.

When we spoke, Campbell said he was looking forward to reconnecting with New York and the audiences who made him a very hot ticket in the late 1990s.

So what about a Broadway show?

“Somebody asked me about that the other day. When I look at the shows (of the past decade) I don’t feel that I missed out on too much,” he said of such blockbuster hits as “Wicked” and “Mamma Mia!” (neither of which had suitable parts for him).

Campbell would be more interested in doing a musical along the lines of the Sondheim show he did in Australia — “Company.”

“I would love to do something like that, a New York classic. It’s very exciting to think about and when I go over this time I’m definitely dipping my toe in the water,” he said of checking out the contemporary Broadway scene and what role he might play in it.

“I’m still hungry but I think I’m better than I was — more grounded — and I’m certainly not the boy next door anymore. The boy next door went off and had a laugh and lived,” he said.

(For information on David Campbell’s shows at Feinsteins at the Regency in Manhattan, go to www.feinsteinsattheregency.com)

The most generous folks in show business?

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You could make an argument that stage actors are among the hardest working people in show business.

Eight times a week — no matter what their mood or personal problems — the performers in Broadway shows deliver the goods for a live audience that expects to be thrilled by the play or musical that they’ve shelled out a lot of money for.

Despite the rigor and discipline of working on a show, many actors also show up for benefits and other special events on their one night off a week.

From special tribute evenings at Lincoln Center to benefits like the “Gypsy of the Year” show next week, the actors on Broadway give back a lot to their community.

One of the most entertaining charitable enterprises of the Broadway community is the “Carols for a Cure” CD that collects Christmas carols and other holiday tunes performed by the casts currently in musicals. The money goes to the Broadway Cares/Equity Fights AIDS charity.

Producer Lynn Pinto came up with the idea more than a decade ago and has followed through with a new CD every season. Each year, Pinto faces the challenge of booking studios during the summer and planning recording time around the incredibly hectic lifestyle of Broadway performers (she also plans sessions for shows that are still in rehearsal but will be running on Broadway by the time “Carols for a Cure” is released).

The CDs are wonderful in and of themselves, but as the years have passed, they have become unique souvenirs of musicals that came and went quickly, such as “Five Guys Named Moe” and “The Great American Trailer Park Musical.” In some cases, the shows never received original cast recordings, so the “Carols for a Cure” CDs are the only audio record of the shows and their performers.

The new “Carols for a Cure” features 23 selections from current Broadway shows, everything from “Million Dollar Quartet” to “Promises, Promises.” It’s especially fun to see long-running shows, such as “Phantom of the Opera” and “Mamma Mia!,” come up with something new for each year’s CD.

The recordings are made by both stars and ensemble players. The notables on the new edition include Bernadette Peters, this year’s Tony winner Douglas Hodge and the terrific husband-and-widfe duo Marin Mazzie and Jason Danieley (who replaced the original stars of “Next to Normal” earlier this season).

The cast of “American Idiot” — including Stark Sands (above) — contributed a gorgeous rendition of “Do You Hear What I Hear?”

The combination of a great cause and a terrific recording makes “Carols for a Cure, Vol. 12” a perfect holiday gift. Since the project began it has raised close to $3 million for BC/EFA.

(You can order the CD set directly from BC/EFA at ww.broadwaycares.org)

‘My Passion’: searching for beauty in Malibu

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Will even the most rabid Barbra Streisand fans shell out 65 dollars for the superstar’s first book, “My Passion for Design” (Viking)?

Instead of a memoir about one of the great careers in modern show biz, Streisand has delivered a profusely illustrated coffee-table volume that details her mammoth renovation/construction projects on the beautiful seaside property in Malibu that the actress shares with her husband James Brolin.

The book landed in stores last week and the star has also produced a special $500 signed and numbered edition that includes a DVD tour of the property.

Even by the grandiose standards of Hollywood, “My Passion for Design” is a jaw-dropping ego trip.

Streisand takes us through each minute phase of the decorating project that appears to have taken months (years?) of the star’s time only to result in one of those bizarre movie community film-set homes. The actress moved heaven and earth to produce an upscale, neo-18th century, half Connecticut/half Nantucket home and garden and guest house.

Of course, movie stars have always had the time and the money to do this sort of thing — rather than simply buy a nice piece of property in Connecticut — but reading about it in detail is a headache-inducing experience.

For page after page after page, we hear Streisand’s side of a long story involving armies of inadequate architects and craftsmen who didn’t quite understand her “vision.”

Yes, we’ve all known for many years that Streisand sees herself as a “perfectionist” who some of her collaborators have viewed as a control freak — or worse — but the matter has never been laid out in such numbing detail before. By the star herself.

A reader is put in the position of being on the scene when hand-made sheets of wallpaper don’t match up the way they should and when the Early American “milk paint” has to be refrigerated in between applications.

You could write a pretty effective horror movie about being one of the un-celebrated toilers who had to keep fixing and fixing and fixing all of those small details until they looked right to their famous boss.

Happy Thanksgiving!

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‘Empty Nest’: the return of the flying Scottolines

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Some people take vitamins every day.

I do, too, but they don’t seem to do much for my mental health.

For the past few weeks, I’ve found the perfect daily picker-upper — a chapter or two from the recently published “My Nest Isn’t Empty, It Just Has More Closet Space” (St. Martin’s Press), by Lisa Scottoline and her daughter, Francesca Scottoline Serritella.

Scottoline is, of course, the best-selling author of a series of fabulous crime novels featuring Philadelphia women much like herself — smart and very funny and very connected with their families and friends.

Work tends to take precedence over the love lives of Scottoline’s women, but it never interferes with their tight friendships or their family bonds.

There isn’t a lot of sex in novels such as “Think Twice” and “Look Again,” but they are chock full of love.

Scottoline writes genuine page turners, but it’s the personal relationships in the books that linger after you put them down.

A few years ago, The Philadelphia Inquirer did a very wise thing and asked one of their city’s most notable native daughters to write a Sunday column called “Chick Wit.”

The 700 or so words a week eventually resulted in a terrific 2009 collection “Why My Third Husband Will Be a Dog” — “My Nest Isn’t Empty…” is the sequel.

Scottoline writes about whatever crosses her path — Pennsylvania highways that are “sponsored” by strip clubs, going to the movies on Christmas Day (it’s a good thing!) — but has also allowed readers a peak into her own family life, with mother Mary and brother Frank (who live together in Miami).

Beloved daughter Francesca is now on her own in New York City, but she and Lisa remain BFFs, and that “nest” in Philadelphia is the scene of many column reunions.

(Father Frank Scottoline died a few years back, but his presence remains  strong in Lisa’s life, and in the column — he still rules over “the flying Scottolines.”)

Somewhere along the way, Lisa came up with the great idea of having Francesca write the column from time to time (in between her own work on a forthcoming novel). The result takes us deeper yet into the Scottoline clan, but also affords “Chick Wit” a neat multi-generational perspective.

Francesca’s voice is entirely her own, but she shares Lisa’s ability to turn borderline TMI into memorable humor and insights (i.e. her column called “The Lady Business”).

The result is one of the best double acts in the newspaper (and book) business.

Because I generally read the column week by week on The Philadelphia Inquirer’s website, I decided to check out the audio book of “My Nest Isn’t Empty…” as well as the hardcover collection and I’m not sure which version I like more.

It’s great to have the columns in a book you can pull down from the shelf, but the audio edition feels even more personal as Lisa and Francesca tell you what’s been going on in their lives.

The columns sound the way they read (something that is not always the case with authors and their audio books) and at the end there is a delightful bonus interview where the two women talk about the challenges of turning your own life into column fodder.

Stephen Sondheim gets a phenomenal birthday party

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How great it is that Stephen Sondheim has lived to be 80 and to witness his transition from being a Broadway cult figure to a full-fledged national treasure.

2010 has been a year-long celebration of Sondheim that has included a star-studded Broadway revue (“Sondheim by Sondheim”), the naming of a Broadway theater after him, and the publication of “Finishing the Hat,” the first of two books that collect all of his lyrics.

It’s nice when an innovative artist lives long enough to be appreciated while he is still with us.

When Sondheim was at his peak — in the 1970s — there was no shortage of admirers for his ground-breaking musicals (with director Harold Prince) such as “Company” and “Follies” and “Sweeney Todd.”

But in their initial runs, those shows were only modest commercial successes — with mixed reviews — and Sondheim kept getting hit with the (baseless) charge that while he might be a great lyricist his melodies were not as memorable as the work of such peers as Jerry Herman and John Kander.

With the passage of time, nearly all of Sondheim’s shows have been revived on Broadway — some of them more than once — and his ability to create memorable melodies is now unquestioned.

Wednesday night PBS is broadcasting an episode of the “Great Performances” series that truly lives up to the title, “Sondheim! The Birthday Concert,” which was taped earlier this year at Lincoln Center.

The show features some of the best interpreters of Sondheim, from old timers like Elaine Stritch to relative newcomers like Joanna Gleason, Donna Murphy and Marin Mazzie.

Put together with great skill by director Lonny Price (who was in the original cast of Sondheim’s 1981 flop “Merrily We Roll Along”), the show serves up one sensational performance after another — a veritable Sondheim orgy.

The show includes tunes from musicals for which Sondheim only did the lyrics, such as “West Side Story” as well as numbers that were cut or revised on the way to Broadway.

The centerpiece of the event is a long sequence (below) in which some of Broadway’s biggest female stars — all dressed in red — take their seats near each other on stage, and then get up, one by one, to deliver incredible performances.

Donna Murphy (top) does a stunning rendition of “Could I Leave You?” from “Follies,” Patti LuPone has the guts to do “The Ladies Who Lunch” with the originator of that “Company” song (Elaine Stritch) sitting a few feet away, and Bernardette Peters does a powerhouse rendition of “Not a Day Goes By” from “Merrily We Roll Along.”

Every number in the show is memorable, and it is to Price’s credit that he includes rising young talent such as Matt Cavenaugh and Jenn Colella (above, left) among the singers. Nathan Gunn also visits from the world of opera.

If you’re not going to be home Wednesday night, find out when your local PBS affiliate is airing this bit of stage history and be sure to DVR it. This is one of the best Broadway specials I’ve ever seen.

‘Time Stands Still’: the return of the well-made, realistic play

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The play’s style might be traditional, but there’s nothing old-fashioned in the subject matter or the performances in the Broadway production of Donald Margulies’s “Time Stands Still,” now on at the Cort Theatre.

The play takes place now — or as close to “now” as a work of art can get — and is powered by an excellent quartet of actors, led by Laura Linney in a smashing performance as a photojournalist recovering from an explosion while on assignment in a war zone.

Sarah Goodwin has suffered facial damage from shrapnel and her leg is bound with a brace that makes it a challenge for her to get around in the Brooklyn loft she shares wirth James Dodd (Brian D’Arcy James), a writer who often covers the same assignments as Sarah.

James and Sarah have lived together for almost a decade but have never bothered to get married.

The only other characters in the play are Richard Ehrlich (Eric Bogosian) — who edits the general interest magazine that publishes a lot James and Sarah’s work — and his new girlfriend, Mandy Bloom (Christina Ricci), who works as a party planner and isn’t much more than half Richard’s age, but is much sharper than James and Sarah think the first time they meet her.

“Time Stands Still” is about the tug between a difficult professional life and a comfortable home life; the good that journalism can do in places like Iraq and Afghanistan; how we respond to the reporting of brave writers and photographers in places like that; and a whole host of other contemporary issues. The bottom line in the play is: what “good” does the documentary work of Sarah and James do, and is it worth the personal trade-offs they’ve made? 

Margulies keeps the story moving along smoothly — and engagingly — without ever making it seem he is being too slick. The play is beautifully constructed — with a very satisfying ending — but the writer never tries to smooth out his roughest edges.

The way that the play entertains an audience and sustains brilliant actors recalls classics of yesteryear by Arthur Miller and Tennessee Williams who knew how to introduce potent material within the commercial restrictions of the Broadway theater.

All of the acting in “Time Stands Still” is very fine, but Linney is especially good as the woman who is so committed to her work that she isn’t sure what role James can play in her life. The actress has the presence of a real stage star — including a voice that carries every line to every theatergoer in the Cort — but her film work can be discerned in the wonderful way she reacts to the other actors on stage and the small physical details that bolster the richness of the writing.

The play opened for a limited run last season under the auspices of the non-profit Manhattan Theatre Club. Luckily for those of us who missed it then, “Time Stands Still” has returned for an open-ended commercial engagement.

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