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
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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
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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.
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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