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Kinky Boots, Matilda Lead Tony Award Noms - The Hollywood ...

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May 1, 2013

Page 1 of 10

Inside:

disney casts

james to star

in cinderella

PAge 3

Croods boosts

dwa’s q1 report

PAge 4

matthews inks

new msnbc deal

PAge 5

tribeca, doha

end partnership

PAge 7

theater review:

annapurna

PAge 8

Kinky Boots, Matilda

Lead Tony Award Noms

By David Rooney

NEW YORK — So much for

frontrunners.

If there’s a message in the

generous spread of nominations

for the American Theatre

Wing’s 67th annual Tony

Awards, honoring the best of

the Broadway season, it’s that

races in pretty much all the

key categories are wide open.

ANALYSIS

Nowhere

is that more

evident than in the competition

for best musical, the

one award that consistently

translates into a significant

boost at the box office.

British import Matilda,

a darkly comic Roald Dahl

adaptation about a bookish

five-year-old genius with magical

powers, had generally

been expected to dominate

the field. That show, with its

dozen noms, still might be the

Matthew Murphy

Cyndi Lauper-scored musical Kinky Boots, left, received 13 Tony Award

nominations, while British import Matilda followed close behind with 12.

one to beat when the Tonys

are handed out on June 9.

But it was trumped by Kinky

Boots, the crowdpleasing tale

of a struggling English shoe

factory rescued by a flamboyant

drag queen with a design

flair for glittering thigh-highs.

That show scored the highest

tally with 13 noms.

Pundits had also expected

the visually spectacular circusthemed

revival of Pippin to be

out in front by a wide margin

for best musical revival. And

while that production’s 10

nominations give it plenty of

momentum, the revamped

Rodgers & Hammerstein’s

see page 2

joan marcus

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May 1, 2013

Page 2 of 10

tony awards 2013

FROM page 1

Cinderella is right behind it

with nine mentions.

At this point, the competition

for best play is looking

like a showdown between

the late Nora Ephron’s posthumously

produced valentine

to tabloid journalism, Lucky

Guy, and Christopher Durang’s

bittersweet Chekhovinspired

comedy Vanya and

Sonia and Masha and Spike,

which scored six noms each.

But even though it trails those

two with three noms, Richard

Greenberg’s complex

look at the changing lives of

an Upper West Side Manhattan

Jewish family over

twenty years, The Assembled

Parties, has major critical

support in its corner.

Heavyweights in the play

revival stakes look to be the

Lincoln Center Theater production

of Clifford Odets’

Golden Boy, which leads the

category with eight noms,

and the Steppenwolf Theatre

Company staging of Edward

Albee’s Who’s Afraid of Virginia

Woolf? with five. The

latter contender scored nods

for both lead performers in

the marital warfare classic,

Tracy Letts and Amy Morton,

as well as featured actress

Carrie Coon.

Some of the acting categories

were particularly competitive

this season, none

more so than lead actress

in a play. Morton goes up

against Laurie Metcalf in

The Other Place, Kristine

Nielsen in Vanya and Sonia,

Cicely Tyson in The Trip to

Bountiful and Holland Taylor

in Ann, her single-character

play about former Texas

Governor Ann Richards.

While Nielsen had been

considered a favorite to win

featured actress in a play for

Vanya and Sonia, the Tony

Awards Administration Committee

elected to consider her

in the lead category instead.

That move,

plus the unusually

strong

field, led to

some highprofile

shutouts.

Among

Nielsen

them were

Fiona Shaw as the mother

of Jesus in The Testament of

Mary, which landed three

noms including best play;

Jessica Hecht for her exquisite

work in Assembled Parties;

and Bette Midler, who

drew love letters from critics

for her turn in John Logan’s

solo play I’ll Eat You Last:

A Chat With Sue Mengers.

That production will hardly

be hurt by the lack of Tony

love, however, given that its

limited engagement is already

close to sold out.

The Tonys traditionally

have an ambivalent attitude

toward Hollywood star power

on Broadway, but some of

the bigger names this season

were never considered major

contenders, particularly in

such a tough race as lead

actress in a play. Among

them were Jessica Chastain

in The Heiress, Katie Holmes

in Dead Accounts, Scarlett

Johansson in Cat on a Hot

Tin Roof, and Debra Winger

in The Anarchist. Sigourney

Weaver had a legitimate shot

at a nom but may have been

edged out by her Vanya and

Sonia co-star Nielsen.

The lead actor in a play

slot does pack some serious

star wattage, however, with

the inclusion of Tom Hanks

for his Broadway debut in

Lucky Guy. Hanks goes up

against Letts, Nathan Lane

in The Nance, David Hyde

Pierce in Vanya and Sonia,

and Tom Sturridge, who beat

out his co-stars

Alec Baldwin

and Ben Foster

to snag the sole

acting nomination

for best play

Hanks revival contender

Orphans.

The lead acting slots in a

musical are unusually high

on cross-dressing roles this

year. Competing for actor

honors, Bertie Carvel as

Matilda’s tyrannical headmistress

faces off against

Billy Porter’s drag footwear

designer in Kinky Boots. In

the actress stakes, Stephanie

J. Block is in the running

for her turn as a Victorian

music hall performer specializing

in trouser roles in

The Mystery of Edwin Drood,

while Patina Miller earned

a nod as the sinister leading

player in Pippin, a role originated

by Ben Vereen and

traditionally played by men.

Also up for lead actor in

a musical is Porter’s Kinky

Boots co-star Stark Sands,

Rob McClure for his transformative

work as the iconic

silent-screen star in Chaplin

and Santino Fontana as the

Prince in Cinderella. Fontana’s

co-star Laura Osnes is

a contender for the title role,

alongside Valisia LeKae as

Diana Ross in Motown: The

Musical, and Carolee Carmello

as evangelist Aimee

Semple McPherson in the

short-lived Kathy Lee Gifford

musical Scandalous.

While Motown was overlooked

in the best musical

race, that Berry Gordy jukebox

bio is off to a roaring

start at the box office, indicating

that its enduringly

popular song catalog is a

marketing hook that does

not require great reviews

or awards attention. The

show scored four noms,

including a featured Actor

nod for Charl Brown as

Smokey Robinson.

The remaining two slots

for best musical, up against

Matilda and Kinky Boots,

went to holiday-season entry

A Christmas Story — which

received three noms and is

due for a return engagement

at the end of the year — and

cheerleading spectacle Bring

It On, nominated twice. Three

of the contenders in that key

field are based on pics, indicating

how frequently Broadway

musicals now look to Hollywood

for source material.

Another growing trend

on Broadway is the arrival

of composers from popular

music and other fields, dipping

their toes in the musicaltheater

waters. The nominees

for best original score

include Cyndi Lauper for

Kinky Boots, Phish frontman

Trey Anastasio (and

Amanda Green) for Hands on

a Hardbody, and Australian

cabaret comedian-singer

Tim Minchin for Matilda.

Rounding out the category

is the talented young composing

team of Benj Pasek

and Justin Paul for A Christmas

Story.

The 2013 Tony Awards

will be presented Sunday,

June 9, at Radio City Music

Hall, broadcast live on CBS

starting at 8 p.m. ET.

Click here to see a full list

of nominees.

thr


May 1, 2013

Page 3 of 10

movie news

Abbey Actress

James to Star

in Cinderella

By Rebecca Ford

Disney has found someone

to wear the glass slipper.

Lily James

(Downton Abbey)

will star as

Cinderella in

Disney’s liveaction

interpretation

of

James

the classic tale.

Kenneth Branagh will

direct, with Cate Blanchett

playing the evil stepmother.

James played Lady Rose

MacClare on season three

of Downton Abbey and will

reprise her role for season

four. Her film work includes

playing Korrina in Warner

Bros.’ Wrath of the Titans.

Emma Watson was in

talks to star as the princess,

but a deal never closed.

The Cinderella project

was first set up at Disney in

May 2010 in the wake of the

studio’s success with Alice in

Wonderland, the live-action

adaptation of the Lewis C.

Carroll book that starred

Johnny Depp.

Devil Wears Prada writer

Aline Brosh McKenna wrote

the initial draft of the script.

James is repped by UTA in

the U.S. and Charles Collier

at Tavistock Wood in the U.K.

Stone, Firth

cast in next

allen comedy

By Rebecca Ford

Emma Stone and Colin Firth

will star in Woody Allen’s

next as-yet untitled comedy.

While the plot of the project

is still very much under

wraps, the film will be set

in the South of France and

shoot this summer.

The project will mark

Allen’s second time shooting

in France, and it will be his

eighth film set in Europe.

The Gravier Productions

film is produced by Allen’s

longtime associates Letty

Aronson and Stephen

Tenenbaum.

Allen’s upcoming Blue

Jasmine will open July 26

via Sony Pictures Classics.

Stone, whose upcoming

projects include The Amazing

Spider-Man 2 and Birdman,

is repped by WME,

Anonymous Content and

Ziffren Brittenham. Firth,

who will star in Genius and

The Railway Man, is represented

by CAA and Independent

Talent.

Valli nabs part

in and So It Goes

By Tatiana Siegel

Theatergoers looking for

Frankie Valli on the big

screen won’t have to wait

for the Jersey Boys movie.

The legendary crooner

has signed on for the role

of a club owner in the Rob

Reiner-helmed comedy And

So It Goes. Michael Douglas

and Diane Keaton star in

the Castle Rock film.

The pic centers on a selfcentered

and eccentric realtor

(Douglas) whose life is

turned upside down when

his estranged son suddenly

drops off a granddaughter

he never knew. With the help

of his determined and loveable

neighbor (Keaton), he

stubbornly learns to care

and, unexpectedly, to fall

in love again.

Mark Andrus (As Good as

It Gets) wrote the screenplay.

Frankie Valli and the Four

Seasons continue to sell out

shows worldwide. Following

their tour of the U.K. last

year, the group will return

in June for a stand that will

end with two nights at Royal

Albert Hall. The act also is

planning tours of Asia and

Australia.

Meanwhile, director Clint

Eastwood is circling a bigscreen

adaptation of the

Broadway hit Jersey Boys,

which chronicles the rise

and eventual breakup of

Valli and the group. That

project is being produced

by GK Films.

Valli is represented by

ICM Partners.

thr

BEHIND THE SCREEN

A NEW TECH BLOG

FROM CAROLYN GIARDINA

.com


May 1, 2013

Page 4 of 10

business news

Croods’ Success Gives

Boost to DWA Results

By Paul Bond

DreamWorks Animation

reported $134.6 million in

revenue and $5.6 million

in net income in the most

recent quarter, with overperformance

in home video

and a strong showing from

The Croods encouraging investors

to bid

the stock 8 percent

higher

in afterhours

trading.

In the previous

period,

Katzenberg

DWA took an

$87 million charge for the

underperformance of Rise

of the Guardians. Since then,

the stock has risen 16 percent.

The company said during

its previous earnings call

that 400 layoffs were coming

as DWA attempts to “rightsize

the whole enterprise,”

as CEO Jeffrey Katzenberg

put it. On Tuesday, Katzenberg

told The Hollywood Reporter

that some of the 400

worker are already gone

while others have been notified

that they’d be laid off

soon. He also said that no

further layoffs are expected.

The company has delayed

the release of Mr. Peabody

& Sherman, and Me & My

Shadow has been yanked

from the schedule indefinitely.

Peabody is “moving

along great,” Katzenberg

said Tuesday and there is

no update on Shadow.

During a conference call

Tuesday, DWA executives —

prompted by a Wall Street

analyst — discussed Disney’s

planned July 3 release of

The Lone Ranger starring

Johnny Depp, since it is a

property licensed by Classic

Media, a company DWA

recently purchased.

DWA got a “small amount”

up front for the movie and

gets profit participation on

the backend as well as merchandise

revenue. “So we’re

rooting for them,” Katzenberg

said.

DWA stock was up a few

pennies during the regular

session Tuesday to $19.28

but surged $1.62 in the afterhours

session.

“This year is off to an outstanding

start,” Katzenberg

said in a release. “The Croods

has reached a blockbuster

level of nearly $480 million

at the worldwide box office

and is well on its way to

becoming the No. 1 movie

released during the first

four months of 2013.”

Croods was distributed

by DWA’s new distribution

partner, 20th Century Fox.

Home entertainment releases

Madagascar 3: Europe’s

Most Wanted contributed

$22.8 million during the

quarter, and Guardians

brought in $9.6 million.

Puss in Boots contributed

$7.5 million.

The strength of our worldwide

box-office results from

The Croods and overperformance

in home video from

both of our 2012 titles dem-

onstrate success in DWA’s

core business so far this

year,” said COO Ann Daly.

Milken Confab:

Moonves Slams

Aereo as ‘Illegal’

By Paul Bond

CBS chief executive Leslie

Moonves had a few choice

words for rival Barry Diller

and his Aereo property on

Tuesday.

“It’s illegal — they’re taking

our signal,” he said on a

stage in Beverly Hills at the

Milken Global

Conference.

That Aereo

stories are “on

the front of the

trade papers

Moonves every day is

silly,” Moonves

said, given the company has

been around for 18 months

and has just 2,000 subscribers.

Moonves said if the networks

lose in courts, he’ll

take the case to Congress,

and consumers won’t be

happy if they lose access to

CBS content because of a

dispute with Aereo.

Diller, said Moonves, has

“done what he likes to do:

disrupt everybody.”

He added, though, “We

don’t lose sleep” over Aereo.

“I don’t think they’re going

to hurt us with 2,000 subscribers

in New York City,”

he said.

Moonves also declared

that CBS’ purchase of Syncback

was in part a countermove

to Aereo.

“We just want to get paid

appropriately,” he said.

He also referred to Netflix

as “a friend and an enemy,”

given they compete with CBS

and also buy its content. He

praised House of Cards as a

good show, but insinuated

it’s too expensive given that

it costs more to produce

than The Walking Dead and

other hit cable shows.

Yahoo chief

Mayer Earned

$36.6 Mil in ’12

By Paul Bond

Yahoo CEO Marissa Mayer

made $36.6 million in her

first year on the job, with

$35 million

coming from

stock awards.

Henrique de

Castro, Yahoo’s

COO, made

even more in Mayer

2012: $39.2 million,

with $38 million coming

from stock awards.

Yahoo CFO Ken Goldman

earned $7.5 million,

and former interim CEO

Ross Levinsohn earned

$23.4 million, up from

$12 million the year prior.

Levinsohn is now CEO of

Guggenheim Digital Media,

parent company of The Hollywood

Reporter.

Scott Thompson, the former

CEO who left Yahoo

in May of last year amid

questions surrounding his

résumé, was paid $24.3 million

in 2012.

thr


May 1, 2013

Page 5 of 10

tv news

Matthews Inks

New Contract

With MSNBC

By Marisa Guthrie

NEW YORK — Chris Matthews

has re-upped with MSNBC,

signing a new long-term deal

that will keep him at the network

into the next presidential

election. But while he’ll

stay put at 5 p.m. and 7 p.m.

on MSNBC, the 67-year-old

will retire from

his syndicated

Sunday show

in July.

In a statement,

Matthews

thanked Matthews

Nancy Nathan,

his executive producer of

The Chris Matthews Show,

which in many markets airs

before NBC’s Meet the Press.

“For more than a decade,

[Nathan] and her team have

allowed me to offer great

Sunday morning television,”

wrote Matthews. “I have been

proud of every program and

the chance to interview some

of the best journalists in this

country, and, yes, to have

them ‘tell me something I

don’t know.’ ”

The final show will air

July 21.

MSNBC president Phil

Griffin, once Matthews’ producer

on Hardball, called

Matthews “an institution. ”

“He’s as identified with

this network as anyone,”

Griffin told The Hollywood

Reporter. “He’s our leadoff

hitter. There’s nobody

smarter about politics than

Chris. He has what I think

is so important to succeed in

this business, particularly in

cable. He lives, breathes and

relishes everything about

politics. His enthusiasm and

his passion and how he gets

angry over it is all what makes

him so good.”

Matthews added: “To be

perfectly truthful, I’d be

doing what I do on the show

— talking and arguing politics

— for nothing even if it

weren’t on the air. I think

the viewer can tell I put all

I’ve got out there Monday

through Friday evenings.”

The new deal likely means

Matthews, who has flirted

with running for office in

Pennsylvania, has given up

on that. He will continue to

write books; he’s working

on a nonfiction tome about

the relationship between

Republican president Ronald

Reagan and Democratic

speaker Tip O’Neill.

TNT’s Dallas

will return

for Season 3

By Michael O’Connell

TNT is staying in Dallas. The

cable network has renewed

the series for a third season.

And despite a significant

ratings dip in January from

its inaugural run in summer

2012, the network plans to

stick with a winter premiere.

A 15-episode season is slated

to kick off in early 2014.

“Dallas has built a passionately

loyal following with

its expertly woven storylines,

clever twists and turns, and

numerous outstanding performances

by a cast that spans

generations,” said TNT, TBS

and TCM president and head

of programming Michael

Wright. “Although we said

goodbye to Larry Hagman

and his iconic character J.R.

Ewing this year, Dallas has

many more stories left to tell,

and the Ewing clan will continue

to honor J.R.’s memory

by keeping its audience surprised

and delighted.”

Hagman, one of the returning

actors from the 1978-

91 series, died in November

at age 81.

Produced by Warner

Horizon Television, Dallas

relaunched last year to a

massive 6.9 million viewers.

Its second season, which

saw it facing much more

competition from the broadcast

networks, returned just

short of 3 million.

It did see growth over the

course of the season, however.

The farewell to Hagman’s

character fetched a

season high of 3.6 million

viewers. All told, the second

season averaged 3.8 million

viewers in Live+Seven Day

returns, with 1.6 million

adults 25-54 and 1.4 million

adults 18-49.

Southland, from Warner

Bros. Television, is awaiting

news on a possible renewal

after recently finishing its

early 2013 run on TNT.

Dallas’ time-slot neighbor

Monday Mornings, David

E. Kelley’s medical drama,

has also yet to be renewed

— although it’s considered a

long shot after ratings further

fizzled from its 1.34 million

premiere.

Gibney to Helm

HBO Sinatra Doc

By Alex Ben Block

Filmmaker Alex Gibney (We

Steal Secrets: The Story of

Wikileaks) will direct a fourhour

documentary miniseries

on Frank Sinatra for

HBO — what its producers

call an “up close and personal

examination” of the

legendary singer and actor,

Alcon Television president

Sharon Hall said Tuesday.

The doc will cover Sinatra’s

life, music and career,

drawing on industry footage

and home movies, some of

which have never been publicly

seen, as well as private

and public performances.

“Alex’s vision for this

unique documentary is an

exciting one,” said Hall,

“taking viewers into the

singular and extraordinary

world created by one of the

greatest entertainers the

world has ever known.”

Producers include daughter

Nancy Sinatra and Frank

Sinatra Enterprises, a joint

venture of the Sinatra family

and Warner Music Group.

The production team also

includes Alcon Television

Group, Kennedy-Marshall

Co. and Jigsaw Productions.

Jeff Pollack will also serve

as a producer. Executive

producers, besides Nancy

Sinatra, are Frank Marshall,

see page 6


May 1, 2013

Page 6 of 10

tv news

FROM page 5

Charles Pignone, Hall and

Alcon co-CEOs Broderick

Johnson and Andrew Kosove.

“Although our primary

business at Alcon Television

is to develop, finance and

produce scripted series for

broadcast and cable television,”

added Hall, “we were

overwhelmed by the scope

and depth of this incredible

story, not to mention the

opportunity to work with

Alex and to partner with

Kennedy-Marshall and Frank

Sinatra Enterprises, on what

is surely to be the definitive

portrait of our era’s greatest

performer.”

Gibney won an Oscar for

2007 doc Taxi to the Dark

Side. His most recent film

is Focus Features’ Story of

Wikileaks.

Shriver returns

to NBC News as

special anchor

By Marisa Guthrie

NEW YORK — Maria Shriver

is returning to NBC News as

a special anchor. She worked

at NBC News for nearly two

decades, from 1986-2004,

but left to focus on her work

as first lady of California.

But she has remained active

in charity and other media

work since the 2011 infidelity

scandal that led to her separation

from husband Arnold

Schwarzenegger, including

making an appearance last

March on the Today show

during papal coverage.

In her new role, she’ll

focus on women’s issues,

NBC said in a statement,

including the “shifting roles,

emerging power and evolving

needs of women in modern

life.” Her reports will

appear across NBC News

platforms including CNBC,

MSNBC and NBC Sports.

She’ll also serve as editorat-large

for

women’s issue

across NBC

News digital

properties.

Shriver has

Shriver been rumored

as among those

NBC News was pursuing to

join the Today show in some

sort of regular capacity —

part of a strategy to bring

a more ensemble feel to the

morning show, which last

year lost its ratings dominance

to ABC’s Good Morning

America. At the time,

sources close to Shriver said

she had no interest in returning

to a full-time and traditional

TV news role. There

was also interest in Shriver

from multiple daytime talkshow

players.

Shriver broke the news

Tuesday of her new role at

NBC News via Twitter. The

mother of four will remain

based in Los Angeles ,and

since the NBC deal is nonexclusive,

she’ll continue to

work on outside projects.

Shriver produces HBO documentary

series The Alzheimer’s

Project, and she’ll also

continue to produce — via

her production shingle —

her series of multi-platform

investigative Shriver Reports.

But NBC News will now have

exclusive access to those projects.

The next Shriver Report

will roll out in 2014 and

examine financial insecurity

among American women.

“I’ve always believed that

television can inspire and elevate

humanity, and that’s my

mission with this new partnership,”

said Shriver in a

statement. “I look forward to

shining a light on all areas

of a woman’s experience —

from faith and finances,

wellness and work, to relationships

and the new realities

of modern life — and

exploring these issues in a

way that brings the voices

of men into these critically

important conversations.”

Added NBCUniversal

News Group chairman Pat

Fili-Krushel: “Through her

reports, her books, her events,

her activism and the powerful

social community that she

has built, Maria Shriver has

become a leading voice for

empowering women and inspiring

all of us to be architects

of change in our lives.

We are delighted that Maria

will play such a key role in

our efforts to examine this

important topic, and all of

us at the NBC family are excited

to welcome her home.”

Hardwick gets

Comedy Central

Late-Night Show

By Lacey Rose

Comedy Central is finally expanding

its late-night block.

The Viacom-owned cable

network is set to offer a midnight

panel show hosted by

comedian Chris Hardwick,

which will be co-produced by

Funny or Die, The Hollywood

Reporter has confirmed. The

half-hour effort will launch

in the fall as a four-night-aweek

entry behind the net’s

one-two ratings punch of

The Daily Show With Jon

Stewart and Colbert Report.

In a 2011 interview with

THR, MTV Networks boss

Doug Herzog acknowledged

that there was “a real opportunity”

from 10 p.m. to 1 a.m.,

noting that Comedy Central

had yet to tap the potential

of that last hour. The delay

has been financial, he said:

“We’re looking at it, trying

to figure out how you extend

it and not go broke doing it

at midnight on basic cable.”

It is worth noting that

Comedy Central’s The Jeselnik

Offensive star Anthony

Jeselnik — whose 10:30 p.m.

weekly show just completed

its first season — was at one

time considered to fill the

late-night slot. “It was going

to be a monologue, a short

piece and the rest of it was

panel,” he told Grantland

earlier this year. “They said

they loved it, but then the

budget changed and they

decided not to do a midnight

show.”

For his part, Hardwick will

serve as a producer on the

still-untitled late-night show,

with Reno 911! co-creators

Thomas Lennon and Robert

Ben Grant tapped to run the

series. The project extends the

Nerdist founder’s relationship

with Comedy Central,

where he fronted a standup

special late last year. He has

a relationship with AMC,

too, where he hosts The Talking

Dead.

Hardwick is repped by

CAA, Brillstein and Sutton

Barth. Grant and Lennon,

who co-stars in NBC’s hopeful

comedy pilot Sean Saves

the World, are repped by CAA,

Principato Young and Jackoway

Tyerman.

thr


May 1, 2013

Page 7 of 10

festival news

Tribeca, Doha End

Cultural Partnership

By Stuart Kemp

LONDON — Tribeca Enterprises

and the Doha Film

Institute, an independent

cultural organization in the

Middle Eastern emirate of

Qatar, are ending

the cultural

partnership

that launched

the Doha Tribeca

Film

Festival.

Al-Khater

The two

organizations on Tuesday

issued a joint statement

announcing “the conclusion”

of their four-year relationship

and signaling that the

fest would look to modify its

format and focus this year.

“We partnered with Doha

Film Institute to help launch

an event that would create a

sustainable foundation for

the growth of a film community

and industry in Qatar

and the Middle East,” Tribeca

Enterprises said. “As

exemplified by DTFF, we

share a common goal with

DFI: to engage, entertain

and inspire in equal measure

in a region with a profound

and growing interest in film.”

It added: “After four years

of successful cultural partnership,

the festival has grown

immensely and reflects our

mutual vision for an event

to promote cultural understanding

and community

through film and education.

We are proud of everything

DFI and Tribeca have

achieved together, and we

wish DFI the very best as

they move forward with

their festival and year-round

initiatives.”

DFI CEO Abdulaziz Al-

Khater said: “Through the

past four editions of the Doha

Tribeca Film Festival, which

were organized in cultural

partnership with Tribeca

Enterprises, we achieved our

fundamental goals of creating

a vibrant grassroots film

industry in Qatar. We are

thankful to them for their invaluable

insights that helped

elevate the film festival initiative

of DFI to a truly global

level. It was a rewarding experience

to work with Tribeca

Enterprises, and we will draw

on this rich learning to create

a new format for DFI’s

film festival initiatives starting

this year.”

Just what the fest will look

like following the withdrawal

of Tribeca’s involvement is

anyone’s guess. Organizers

said they hope to announce

details during the Festival

de Cannes this month.

Al-Khater added: “With

DFI having successfully

formed strong community

and industry bonds, the new

festival format will build

on the passion for filmmaking

from talent in the region

and around the world. We

are defining a new niche

for the film festival, which

will serve as a platform

for strengthening a homegrown

film industry, as well

as continuing to build our

international relationships

to promote Qatar as a cultural

hub.”

The announcement comes

just weeks after veteran film

producer Paula Weinstein

was named executive vp of

Tribeca Enterprises.

Last year’s Doha Tribeca

Film Festival saw visits from

Robert De Niro and Skyfall

writers Neal Purvis and Robert

Wade, who added star

power to the Qatar event.

cannes names

Certain Regard

jury members

By Stuart Kemp

LONDON — Actresses Zhang

Ziyi and Ludivine Sagnier

are among the four names

on the jury for the Un Certain

Regard sidebar at the

Festival de Cannes, set to

run May 15-26.

Presided over by Danish

filmmaker Thomas Vinterberg,

Sagnier and Ziyi are

joined by Rio Film Festival

director Ilda Santiago and

Spanish producer, distributor

and exhibition player

Enrique Gonzalez Macho.

Organizers also on Tuesday

announced this year’s

Camera d’or jury, which

will be led by French director

Agnes Varda.

Joining Varda is Spanish

director Isabelle Coixet,

French helmer Regis Wargnier,

Chloe Rolland (Syn-

dicat de la Critique), Michel

Abramowicz (AFC), Eric

Guirado (SRF) and Gwenole

Bruneau (FICAM).

The Camera d’Or (Golden

Camera) award is given to

the best film out of the Official

Selection, the Critics’

Week and the Directors’

Fortnight.

A total of 23 movies will

compete for the honor at

this year’s fest.

Last year’s Camera d’or

went to Benh Zeitlin’s Beasts

of the Southern Wild.

Whedon, Coppola

pics to bookend

Seattle film fest

By Gregg Kilday

The 2013 Seattle International

Film Festival will kick off

May 16 with Joss Whedon’s

Much Ado About Nothing and

close June 9 with the American

premiere of Sofia Coppola’s

The Bling Ring.

Morgan Neville’s Twenty

Feet From Stardom, a documentary

about backup singers,

will serve as the festival’s

centerpiece gala.

During the course of the

fest, it will screen 447 films,

including 272 features (plus

four secret films), and 175

shorts from 85 countries,

organizers said Tuesday.

This year’s event also will

feature two special guests:

actor Kyle MacLachlan and

director Peter Greenaway.

Additionally, the fest also

will launch a new African

Pictures Program, showcasing

films from Africa with

the help of a grant from the

Academy of Motion Picture

Arts and Sciences. thr


May 1, 2013

Page 8 of 10

theater reviews

Annapurna

By Myron Meisel

Even before the show begins

at the Odyssey Theatre space

in West Los Angeles, we can

bask in the impressive set:

a cutaway view of a pigsty of

a trailer with a serene vista

of Colorado’s Mount Gunnison

in the background.

(There’s been a plethora of

cluttered spaces this season,

from A Dirty Filthy Love

Story to American Buffalo.)

Ulysses (Nick Offerman),

the nearly naked disaffected

denizen of this detritus amidst

natural splendor, finds his

isolation shattered by the

un-announced arrival of

his estranged wife Emma

(Megan Mullally), twenty

years after she fled forever

after with their young son,

with nary a communication

until this moment of his

greatest vulnerability.

A formerly acclaimed

poet and celebrated professor

who has certainly tested

the limits of scraping bottom,

Ulysses essentially wants to

be left alone to die, grievances

intact, and although he

has finally achieved sobriety

and destitution after these

many years, he remains unaccountably

puzzled and

irretrievably wounded by

why Emma left him and

“kidnapped” their child.

Emma, for her part, has also

avoided confronting the conflicting

emotions entangled

in their love and marriage.

The play spends much

of its first third playing

the surprise reunion for

laughs, as these two pros

milk their quips in character

and scenes frequently black

out briefly before jumping

ahead some minutes in time.

Then, on dramaturgical

schedule, the byplay deepens

into an intrigue of loss

and disappointment until

the final movement eventu-

Nick Offerman and Megan Mullally

look back on some of the peaks and

valleys in their lives in Annapurna.

ally climaxes in revelations

that are so anticipated by

any modestly attentive viewer

that it is bewildering that the

protagonists share such a

common bond of obtuseness,

if nothing else.

Sharr White has been

enjoying conspicuous success

with The Other Place

on Broadway this season,

and The Snow Geese is set

for a fall premiere there,

but on the evidence of this

piece he seems to develop

his themes of reconciliation

and commitment with a willful

deliberation, arbitrarily

illustrating his points by subordinating

character to purpose.

The controlling metaphor

of unflagging dedication

and mutual trust required to

survive the first scaling of

the eponymous Himalayan

peak by Maurice Herzog

never surmounts its strain

for an obvious, and rather

dubious, relevance to the

bonds between any couple.

And naught is helped by

hearing the unpublished

and apparently quite awful

epic poem Ulysses has been

scribbling on paper towels

and toilet paper over the

years as an ode to his ex.

One would rather have heard

some of the much-vaunted

eloquence of his regular

letters to his son over the

decades that had remained

unread until now.

Notwithstanding, it is

difficult to imagine a more

sympathetic production of

this problematic text. Offerman

manages to locate the

raw nerves within this monstrous

misfit without losing

fundamental audience sympathy,

while Mullally performs

rhythmic wonders

with her lines as she keeps

very busy cleaning the Augean

stables, her actions

and words often in glorious

counterpoint. When she

see page 9


May 1, 2013

Page 9 of 10

theater reviews

FROM page 8

complains that “You can’t

just take something somebody

says and then turn

around and use it against

them in an argument,” she

makes obstinate absurdity

plausible. Both excel at suggesting

affection wrapped insecurely

in abundant memories

of pain. Director Bart

DeLorenzo has lavished his

customary love on the show,

the players and the crafts,

so well-marshaled to create

an impression that the

stakes are more real than

the writer has succeeded in

making them.

Venue: Odyssey Theatre, Los

Angeles (runs through June 9).

Produced by: Beth Hogan,

in association with the Evidence

Room.

Cast: Megan Mullally, Nick

Offerman.

Director: Bart DeLorenzo.

Playwright: Sharr White.

Set designer: Thomas A. Walsh.

Lighting designer:

Michael Gend.

Costume designer:

Ann Closs Farley.

Music and sound designer:

John Ballinger.

The Parisian

Woman

By Myron Meisel

Peter (Steven Culp), a Beltway

trial lawyer, is under

consideration, “near the

bottom of the short list,”

for nomination as Attorney

General. His inveterately

hedonistic wife Chloe (Dana

Delany), on the other hand,

must juggle her social responsibilities

with the irrational

jealousy of her lover, power-

ful lobbyist Tom (Steven

Weber). The ambitious and

complicit Peter wants Tom

to put in a good word with

the President’s Chief of Staff,

but it is Chloe who knows how

to strong-arm the Treasury

Secretary designate (Linda

Gehringer) into making history

happen.

This world premiere at

South Coast Repertory in

Costa Mesa, Calif., has been

concocted by Beau Willimon

along the outlines of an

1885 groundbreaking realist

French play by the forgotten

Henri Becque, a contemporary

of Zola, Ibsen and Strindberg.

In its initial guise of a

boulevard comedy of winking

adultery, The Parisian

Woman translates without

idiom to contemporary Washington

D.C. The bright bon

mots sound stilted, redolent

of another century’s rhetoric,

even as the wit of the

situations feels surprisingly

modern.

In his program note, Willimon

pointedly declines to

consider his play an adaptation,

having consolidated

five acts into one, removed

two characters and invented

two others entirely. And yet,

Dana Delany, left, tries

to charm Linda Gehringer

in The Parisian Woman.

as executive producer of Netflix

series House of Cards and

author of the play Farragut

North, which he co-adapted

for the film The Ides of March

and for which he earned an

Oscar nomination, he indisputably

manifests an obsession

with the interplay

between sexual corruption

and political manipulation

(or is it the other way round?).

As the drollery of peccadilloes

gives way to more sinister

connivances, Willimon’s gallery

of morally compromised

egoists grows more fascinating,

especially the disarmingly

frank and invulnerably

unambitious Chloe, who

knows just how to tell the

truth to get what she wants.

Delany plays her candidly,

with an astringent charm

that allows her to wield her

self-awareness as a weapon.

Perhaps Willimon’s plotting

is less than credible,

yet nevertheless the characters’

plotting becomes

hypnotically engrossing,

the audience rather situated

as charmed snakes.

And while none of the characters

are essentially believable,

they are in these expert

hands never less than mag-

netically convincing. Appropriately,

it is the women who

shine brightest and dominate,

as they see the world

and its motives more clearly

than the men, who are more

limited by their conception

of what is real and pertinent.

Secure in their capability to

act, they are helpless before

the wisdom and ruthlessness

of the women. Gehringer

finds a peculiarly feminine

variation of fatuousness in

her high-powered capability

that equips her with a weak

spot not unlike the men with

whom she competes, and

Rebecca Mozo yet again

proves herself an invaluable

stage presence as her aggressively

aspiring daughter.

The invention may be too

strenuous, and the machinations

too heartless to qualify

as a play of genuine feeling,

but it does invite legitimate

curiosity about Becque’s original

and a desire to encounter

more of his work, perhaps

less freely updated. Meanwhile

Willimon remains a

shrewd purveyor of compelling

monstres sacrées, if not

invariably inspired then unfailingly

bright and strategically

clever.

Venue: South Coast Repertory,

Costa Mesa (runs through May 5).

Cast: Dana Delany, Steven Weber,

Steven Culp, Linda Gehringer,

Rebecca Mozo.

Director: Pam McKinnon.

Playwright: Beau Willimon,

inspired by Henri Becque’s

Le Parisienne.

Set designer: Marion Williams.

Lighting designer: Lap Chi Chu.

Costume design:

David Kay Mickelsen.

Sound designer:

Cricket S. Myers.

thr


May 1, 2013

Week 31

May 1 ABC CBS NBC FOX CW

MON

8:00

8:30

9:00

9:30

10:00

10:30

TUE

8:00

8:30

9:00

9:30

10:00

10:30

WED

8:00

8:30

9:00

9:30

10:00

10:30

THU

8:00

8:30

9:00

9:30

10:00

10:30

FRI

8:00

8:30

9:00

9:30

10:00

10:30

SAT

8:00

8:30

9:00

9:30

10:00

10:30

SUN

7:00

7:30

8:00

8:30

9:00

9:30

10:00

10:30

WK. AVG.

SSN. TO DATE

2.2/6 13.1

2.0/6

12.8

2.1/6 Dancing With the Stars

13.7

2.1/6 2.1/6 13.8

14.1

2.2/6 14.3

2.4/6 Castle

12.3

2.2/6 2.3/6 11.8

11.3

1.6/4 9.0

1.1/3 Splash

4.8

1.1/3 1.1/3 4.9

5.0

2.0/5 Dancing With the Stars Results 12.2

2.1/5 2.0/5 12.6

13.0

1.6/4 Body of Proof

9.6

1.5/5 1.6/4 9.3

9.1

1.3/4 4.2

1.2/4 The Middle R 4.8

1.4/4 Modern Family R S 4.4

1.8/5 Modern Family R 5.4

1.5/4 Live With Parents (Rest of Life) 4.8

0.9/2 Nashville

3.1

0.8/2 0.8/2 3.0 R

2.8

2.2/6 6.5

0.9/3 Wife Swap

3.3

1.2/4 1.1/3 3.4

3.6

2.6/7 Grey’s Anatomy

7.9

2.9/8 2.7/8 8.2

8.6

2.9/8 Scandal

8.1

2.8/8 2.8/8 7.9

7.7

1.3/4 4.4

0.6/2 Happy Endings 2.2

0.6/2 Happy Endings 1.7

1.8/6 Shark Tank

6.2

2.1/7 2.0/6 6.6

7.0

1.3/4 20/20

4.7

1.1/4 1.2/4 4.5

4.4

0.6/2 2.3

0.6/2 Bet on Your Baby

2.5

0.6/2 0.6/2 2.5

2.5

0.5/2

2.0

0.5/2 Movie of the Week:

1.9

“Over the Hedge”

0.6/2 0.6/2 2.1 R

2.3

0.7/2 2.2

1.5/4 5.8

1.5/5 America’s Funniest Home Videos 6.1

1.6/5 1.6/5 6.5

6.9

2.1/6 Once Upon a Time

7.2

2.0/6 2.0/6 7.2

7.2

1.8/5 Revenge

6.2

1.7/4 1.7/5 6.1

5.9

0.7/2 Red Widow

3.5

0.7/2 0.7/2 3.5

3.5

1.5/5 6.4

2.2/6 7.8

1.3/4 5.0

1.3/4 How I Met Your Mother R 4.2

1.6/5 Rules of Engagement 5.1

1.5/4 2 Broke Girls R 5.1

1.3/3 Mike & Molly R 5.3

1.2/3 Hawaii Five-0

5.4

1.2/3 1.2/3 5.2 R

5.0

2.3/7 13.2

2.8/9 NCIS

17.1

2.9/8 2.8/9 17.3

17.6

2.8/8 NCIS: Los Angeles

14.8

2.6/7 2.7/7 14.2

13.6

1.5/4 Golden Boy

8.3

1.2/4 1.4/4 7.9

7.6

2.0/6 8.0

2.9/9 Survivor: Caramoan

10.2

2.9/9 2.9/9 10.3

10.5

1.4/4 Criminal Minds

6.0

1.4/4 1.4/4 5.9 R

5.8

1.5/4 CSI: Crime Scene Investigation

7.6

1.6/5 1.5/4 7.8 R

7.9

2.7/8 12.2

4.5/15 The Big Bang Theory 15.0

2.8/9 Two and a Half Men 11.2

2.4/7 Person of Interest

13.3

2.4/6 2.4/7 13.2

13.2

2.1/6 Elementary

10.5

1.9/6 2.0/6 10.1

9.6

1.3/5 9.0

1.5/6 Undercover Boss

8.5

1.9/7 1.7/7 9.2

9.9

1.1/4 Vegas

7.5

0.9/3 1.0/3 7.5

7.5

1.3/4 Blue Bloods

10.3

1.4/5 1.3/4 10.5

10.6

0.7/2 3.5

0.4/1 Mayweather

1.6

0.4/2 0.4/2 1.7 S

1.7

0.5/2 Criminal Minds

3.2

0.8/3 0.7/2 3.7 R

4.1

1.0/3 48 Hours

4.8

1.0/3 1.0/3 5.0

5.2

1.8/5 9.7

1.4/5 60 Minutes

11.3

1.6/5 1.5/5 11.7

12.2

2.4/7 The Amazing Race

9.6

2.4/7 2.4/7 9.3

9.1

1.6/4 The Good Wife

9.2

1.6/4 1.6/4 9.1

9.1

1.6/4 The Mentalist

9.0

1.5/4 1.6/4 8.8

8.6

1.7/5 8.7

2.9/8 12.0

Tv ratings

4.0/11 11.4

4.2/13

12.9

5.1/14 The Voice

14.7

5.1/13 4.9/14 14.2

14.4

5.2/13 14.6

2.3/6 Revolution

6.5

1.8/5 2.0/6 5.9

5.3

2.1/6 6.2

3.7/12 The Voice

11.9

4.5/13 4.1/13 12.8

13.5

1.4/4

3.6

1.1/3 Ready for Love

2.6

1.1/3 1.1/3 2.9

2.8

0.9/3 2.4

1.4/4 5.6

1.3/4 Dateline

5.2

1.4/4 1.3/4 5.6

5.9

1.9/5 Law & Order: SVU

7.4

1.9/5 1.9/5 7.4

7.4

1.0/3 Chicago Fire

4.3

0.9/3 1.0/3 4.0 R

3.7

1.2/3 2.5

1.0/3 Community 2.3

0.9/3 The Office R 1.8

1.7/5 The Office 3.2

1.3/4 Parks and Recreation 2.6

1.0/3 Hannibal

2.3

1.0/3 1.0/3 2.4

2.4

0.9/3 3.8

0.7/3 Fashion Star

2.8

0.7/2 0.7/3 2.7

2.7

1.3/4 Grimm

4.7

1.3/4 1.3/4 4.8

4.9

1.0/3 Rock Center With Brian Williams 3.9

0.8/3 0.9/3 3.8

3.6

0.6/2 2.1

0.4/2 Smash

2.0

0.4/2 0.4/2 1.9

1.9

0.5/2 The Voice

2.0

0.7/2 0.6/2 2.2 R

2.3

0.7/2 Saturday Night Live Primetime 2.2

0.8/3 0.8/3 2.3 R

2.4

1.2/4 4.2

0.6/2

2.6

0.7/2 The Voice

2.7

1.1/3 0.9/3 3.3 R

3.8

1.1/3 4.0

1.5/4

4.8

1.5/4 All-Star Celebrity Apprentice

4.8

1.6/4 1.6/4 5.1

5.2

1.7/5 5.5

1.6/5 5.1

2.4/7 7.0

2.2/6 7.1

1.9/6 Bones

6.8

2.1/6 2.0/6 7.1

7.4

2.5/6 The Following

7.2

2.4/6 2.4/6 7.0

6.9

1.5/4 3.5

2.0/6 Hell’s Kitchen

4.8

2.1/6 2.0/6 4.8

4.8

1.2/3 New Girl R 2.4

0.9/2 The Mindy Project R 1.8

3.3/9 12.5

2.9/10

10.9

3.3/10 American Idol

12.5

3.4/9 3.3/9 12.5

13.1

3.5/9 13.3

2.3/7 8.3

2.6/9 American Idol

10.8

2.9/9 2.8/9 11.4

12.0

1.9/5 Glee

5.6

1.7/5 1.8/5 5.2

4.9

0.8/3 2.6

1.0/4 Kitchen Nightmares

3.0

1.0/4 1.0/4 3.0

3.0

0.6/2 Touch

2.2

0.6/2 0.6/2 2.2

2.2

1.5/6 6.1

1.3/5

5.5

1.4/6 NASCAR Sprint Cup:

5.8

1.6/6 Toyota Owners 400

6.1

at Richmond International

1.4/5 Raceway

6.0

1.6/5 1.5/6 6.1 S

6.2

1.8/6 6.8

1.7/5 3.6

0.9/3 The Simpsons R S 2.1

1.2/4 The Cleveland Show 2.7

2.1/6 The Simpsons 4.6

1.7/5 Bob’s Burgers 3.5

2.6/7 Family Guy 4.9

1.9/5 American Dad 4.0

1.9/6 6.1

2.5/7 7.1

R=Repeat D=Debut S=Special Winner of time period

0.0/00 Program Name 00.0

18-49 Rating/Share Title of Show Millions of Viewers

0.3/1 0.7

0.4/1 Oh Sit!

0.9

0.3/1 0.3/1 0.9

0.8

0.2/1 90210

0.5

0.3/1 0.3/1 0.5

0.5

NO PROGRAMMING

Page 10 of 10

chart

0.3/1 0.9

0.4/1 Hart of Dixie

1.1

0.4/1 0.4/1 1.1

1.1

0.3/1 America’s Next Top Model: College 0.7

0.3/1 0.3/1 0.7 R

0.7

1.0/3 2.7

1.0/3 Arrow

3.1

1.0/3 1.0/3 3.1

3.1

1.1/3 Supernatural

2.4

1.0/3 1.0/3 2.4

2.4

0.7/2 1.7

1.0/3 The Vampire Diaries

2.3

1.0/3 1.0/3 2.2

2.2

0.5/1 Beauty & the Beast

1.2

0.5/1 0.5/1 1.2

1.2

0.2/1 0.8

0.3/1 Nikita

1.0

0.3/1 0.3/1 0.9

0.9

0.2/1 Oh Sit!

0.6

0.2/1 0.2/1 0.6 R

0.6

NO PROGRAMMING

0.5/2 1.4

0.7/2 1.8

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