The Broadway revival of "West Side Story" was greeted with mixed reviews today. This groundbreaking show is the third of four musicals to come back to Broadway this season. As the previous two — "Pal Joey" and "Guys and Dolls" — were also critical disappointments, that means that 1969 also-ran "Hair" could establish itself as the front-runner for best musical revival at the Tony Awards when it opens next week. "West Side Story" has had little luck with the Tonys in its three previous Broadway incarnations.
Back in 1957, this musical updating of "Romeo and Juliet" electrified audiences with its daring blend of song and dance. However, it failed to prevail at the Tony Awards, losing four of its six bids. The two Tonys it did win went to director Jerome Robbins, who picked up the second of an eventual three awards for choreography, and Oliver Smith, who earned the second of his eventual seven awards for scenic design.
"The Music Man" with book, music and lyrics by Meredith Willson was the big winner that night taking five Tonys including best musical. And in the battle of the ingenues, Barbara Cook, as Marian the librarian in "The Music Man," bested Carol Lawrence, the tragic young lover Maria in "West Side Story." While "The Music Man" ran for over three years, "West Side Story" closed three months shy of two years, then toured for almost a year before returning to the rialto for another eight months.
The reputation of the show was only solidified with the 1961 film version. "West Side Story" won 10 of its 11 Oscar nominations, including best picture and the supporting actress award for eventual grand slam winner Rita Moreno. (The 1962 film of "The Music Man" won just one of its six Oscar nods — musical score.)
Though the 1964 City Center revival of "West Side Story" ran for just a month, it contended at the Tonys in the now defunct producing category — David Merrick won one of the then-record 10 Tonys awarded to "Hello, Dolly!" And the 1980 remounting contended for best revival losing to "Morning's at Seven." The production's Maria (Josie de Guzman) and Anita (Debbie Allen) both lost the featured actress race to Priscilla Lopez for "A Day in Hollywood/A Night in the Ukraine." That edition ran for 10 months.
This revival was directed by the show's book writer Arthur Laurents and the 91-year-old came in for the lion's share of criticism. As Charles McNulty of the Los Angeles Times writes, "The extraordinary variety and operatic fullness of Leonard Bernstein’s score goes a long way toward covering up the directorial fumbling of crucial emotional events (including the rushed, clumsily staged final scene). And the bright wattage of Stephen Sondheim’s lyrics alert us to depths overlooked by the actors." And Ben Brantley of the New York Times thought, "The show seems haloed in a softening mist of compassion, turning its sidewalk Romeo and Juliet — and most of its young characters — into imperiled babes in the woods."
Uh-oh — the Emmys are in big trouble considering the raves TV critics are giving the finale of "Battlestar Galactica" airing tonight on the Sci Fi Channel.
Despite being hailed as one of TV's greatest drama series of recent years, "Battlestar Galactica" has only won two Emmy Awards — for visual effects, of course. It's never even been nominated for best drama series or an acting award and has little hope now considering the recent change in the voting process. Read Gold Derby's detailed lament about that here.
The L.A. Times review of the "Battlestar Galactica" finale is a rave: "It's hard to imagine a more visually and thematically satisfying finale . . . 'Battlestar Galactica's' finale is everything a fan, of the show and of television, could hope for . . . Yes, that's right, all is finally revealed, though in a way that leaves the door open for hours of satiated, as opposed to angry and agitated, speculation, not to mention a whole new round of term papers. Moore and his team should win not only an Emmy but a special Medal of Honor for Not Copping Out on the Finale."
As regular Gold Derby readers know, I own what's believed to be the world's largest private collection of historic showbiz awards outside of Jack Nicholson's house. (More details about all that here, here and here.) So I'm not one of those snobs who goes into fits of outrage at the thought that the sanctity of these statuettes somehow gets violated whenever they're bought and sold. If the practice is OK for art treasures, why not showbiz ones as well? And, quite frankly, the latter variety are often just gold-plated, so harrumph, harrumph.
However, I don't own a MTV Video Video Music Award or American Music Award as yet. Do you? Maybe we can bid against each other next month when Julien's Auctions puts up for sale five of Michael Jackson's MTV Video Music Awards, eight American Music Awards, two Billboard Awards, seven NAACP Image Awards plus lots of other kudos, including gold and platinum record awards.
The auction will be held from April 22 to 25 adjacent to the Beverly Hilton Hotel in Beverly Hills, California. Meantime, the items are on public view at the Hard Rock Café in New York's Time Square from March 25 to 28.
Michael Jackson's lawyers recently filed papers to shut down this auction, but that may just be one of those "Wacko Jacko" things that will mysteriously vanish soon. I recently talked about that with auctioneer Darren Julien, one of the most respected dealers in Hollywood memorabilia. He's handled auctions in the past for Cher, Barbra Streisand and U2. I've purchased many of the items in my personal collection from him. Darren assures Gold Derby that the auction will proceed as planned and will be completely legit. Jackson entered into a formal contract with Julien's Auctions to do this sale. Jackson and his manager chose the items to be sold and delivered them to the auction house as follow up. Part of the proceeds will go to the Grammys' MusicCares charity. See more details about the auction here.
Natasha Richardson leaves behind a legacy of performances from film and television dating back a quarter of a century. However, it was on the stage that this star truly shone. And Broadway will pay the ultimate tribute to Richardson tonight when the lights of all the theaters along the rialto are dimmed for one minute at curtain time.
For her 1986 stage debut opposite her mother, Vanessa Redgrave, in Chekov 's "The Seagull," Natasha Richardson won the London Drama Critics' Circle award as most promising newcomer at age 23. And for her 1993 Broadway debut in the third rialto revival of Eugene O'Neill's "Anna Christie," she won the equivalent award from Theatre World.
Natasha Richardson was the first actress to be nominated for a Drama Desk award for playing that title role. She lost that race to Jane Alexander for "The Sisters Rosensweig." And like Liv Ullmann, star of the second revival of "Anna Christie" in 1977, Richardson was also nominated for a Tony Award as lead actress in a play. That category pitted niece against aunt, as Lynn Redgrave was nominated for her tribute to Richardson's grandfather, Sir Michael Redgrave, in "Shakespeare for My Father." They and Alexander lost to the latter's costar Madeline Kahn.
Richardson's soon-to-be husband Liam Neeson made his Broadway debut opposite her in "Anna Christie." He too was nominated for a Tony Award, losing the lead actor in a play race to Ron Liebman for "Angels in America: Millennium Approaches." However, the play did win the Tony for best revival.
Five years later, Natasha Richardson would win a Tony for doing the seemingly impossible and making audiences forget Liza Minnelli's 1972 Oscar-winning performance in "Cabaret." As the defiant Sally Bowles, the actress was front and center in this reimagining of the 1967 best musical Tony champ. Working with helmer Sam Mendes and co-director and choreographer Rob Marshall, Natasha Richardson proved she was much more than just a classically-trained thespian. New York Times critic Ben Brantley raved that Richardson was "extraordinary" and said she was "a dazzling example of how star power can be harnessed to create a devastating portrait of someone who is definitely not a star."
For her efforts, Richardson first won the Drama Desk award for lead actress in a musical. And then at the Tonys, she prevailed over a quartet of musical theater vets — Betty Buckley ("Triumph of Love"), Marin Mazzie ("Ragtime") and co-nominees Alice Ripley and Emily Skinner ("Side Show"). The show won three other Tonys that night — musical revival, lead actor (Alan Cumming), and featured actor (Ron Rifkin).
Richardson appeared twice more in a Broadway production. In 1999, she was in the four-hander "Closer" by Patrick Marber. As the adulterous Anna (played in the 2004 film version by Julia Roberts), Richardson received a Drama Desk nod for featured actress in a play but lost to her co-star Anna Friel. In what was to be her final role, Richardson starred as Blanche DuBois opposite John C. Reilly as Stanley Kowalski in a 2005 production of "A Streetcar Named Desire" that received only mixed reviews.
In January of this year, Natasha Richardson and her mother starred in a one-night only concert version of Stephen Sondheim's "A Little Night Music" as a fundraiser for the Roundabout. Following the rapturous reviews for this staging of the 1973 Tony-winning best musical, there was talk of a full-scale production to come.
Below is a clip of Natasha Richardson's powerful performance of "Maybe This Time" from her Tony-winning turn in "Cabaret."
Let's forget for a moment who has the best shot to win "American Idol." Who among the live show participants has the best chance to go on and contend for the top showbiz awards?
Remember that Jennifer Hudson only came in seventh place in Season 3, but went on win the Oscar, Golden Globe, SAG, Critics Choice, BAFTA and New York Film Critics Circle awards for her performance in "Dreamgirls" as well as best R&B album at the recent Grammys for her debut disc "Jennifer Hudson."
Season 3 champ Fantasia recorded a R&B duet with Hudson — "I'm His Only Woman" — that contended at those Grammys. Fantasia earned four Grammy nominations in 2006 for her first album ("Free Yourself") and three more in 2008 for her second ("Fantasia"). She has three Billboard Awards, including the prize for top-selling single of 2004 ("I Believe").
Ruben Studdard, who won Season 2 by a whisker, picked up a Grammy nod in 2004 for best male R&B vocal performance ("Superstar"), but he lost to his idol, Luther Vandross. Runner-up Clay Aiken, who won three Billboard awards and was fan choice at the 2003 American Music Awards, has yet to pick up any Grammy noms.
Season 1 champ Kelly Clarkson won Grammys in 2006 for best female pop vocal performance ("Since U Been Gone") and pop album ("Breakaway"). She also won best female video twice at the MTV Music Video Awards — "Since U Been Gone" (2005) and "Because of You" (2006) — as well as six Teen Choice Awards, four American Music Awards, and a People's Choice Award. And now that Clarkson's fourth album — "All I Ever Wanted" — just entered the Billboard charts at No. 1, it's likely that more kudos are ahead.
Season 6 winner Jordin Sparks released her self-titled debut album in the fall of 2007 to good reviews and sales, including two platinum singles ("Tattoo" and "No Air"). The latter of those was with Chris Brown and landed them a recent Grammy nod for pop vocal collaboration.
While Taylor Hicks won Season 5 of "American Idol," he has never been nominated for any showbiz prize (and, let's be honest, has little hope in the future — what were voters thinking in 2006, eh?). However, fourth-place finisher Chris Daughtry scored four Grammy nominations for his group's self-titled debut "Daughtry." And they won four American Music Awards in 2007.
Season 4 champ Carrie Underwood is the only "American Idol" ever nominated for best new artist at the Grammys, which she won in 2007, in addition to best female country vocal performance ("Jesus, Take the Wheel"). She repeated in that category in both 2008 ("Before He Cheats") and 2009 ("Last Name"). Carrie Underwood has also won five American Music Awards, five Country Music Assn. Awards, six Academy of Country Music Awards, and six CMTs.
So what about the current crop of "American Idol" contestants? Which ones have the best awards potential? I posed that question in The Envelope's Gold Derby forums and discovered that most support goes to Kris Allen, Allison Iraheta, Adam Lambert and Lil' Rounds. Here are just a sample of comments from our posters:
Try Again: "Adam — If the material is good or popular, he will no doubt get an AMA, VMA nomination. Allison — She seem the most poised to earn multiple nominations from the AMAs, VMAs and Grammys. She could do well with the right material to get a couple of nominations."
Gucci: "At this point, Lil' Rounds is the only one to me that has potential to land some Grammy nominations within the R&B field."
LKMOSCAR: "Allison is the only one as of now."
DJWolff: "Kris Allen seems to be the only contestant with some viable marketability. However, Adam Lambert has a huge following. He can definitely exploit the emo-Tokio Hotel route and win VMAs on his own (especially if they're fan-voted)."
Come to think of it, maybe Matt Damon was right when he recently said that the Oscars "get it wrong more often than they get it right."
If I were the king of the Oscars (someday — just you wait, Derbyites!) and had the power to take away past wins, the first awards I'd yank from the clutches of undeserved winners are these: Reese Witherspoon ("Walk the Line"), Nicole Kidman ("The Hours"), Sean Penn ("Mystic River" — I'd let him keep the Oscar if he'd won for "21 Grams" that year), Russell Crowe ("Gladiator"), Geoffrey Rush ("Shine"), Jack Nicholson and Helen Hunt ("As Good as It Gets"), Al Pacino ("Scent of a Woman" — he could keep the Oscar if he'd won it for any other nomination any other year), Sally Field ("Places in the Heart"), Glenda Jackson ("A Touch of Class"), Cliff Robertson ("Charly") and Elizabeth Taylor ("Butterfield 8").
Those are examples just among the living. If I had the monarchical powers to reach beyond the grave, all of the following would be in big trouble: Paul Newman ("The Color of Money"), Jack Lemmon ("Save the Tiger"), John Wayne ("True Grit"), Katharine Hepburn ("Guess Who's Coming to Dinner"), Ingrid Bergman ("Anastasia"), Lee Marvin ("Cat Ballou") and Charlton Heston ("Ben-Hur")
Oh, yeah, and I'd not only force another member of the royal class, Princess Grace of Monaco, to abdicate as Oscar queen for "Country Girl," but I'd make her give the 1954 best-actress crown to Judy Garland ("A Star Is Born") — along with an apology. Ditto Judy Holliday ("Born Yesterday") to poor Gloria Swanson ("Sunset Blvd.").
"Best pictures" that must be rescinded: "The Departed," "Braveheart," "Unforgiven," "Dances With Wolves," "Out of Africa," "Gandhi," "Rocky," "Ben-Hur," "Around the World in 80 Days," "The Greatest Show on Earth," and "An American in Paris."
All of the above are examples only since 1950. I'm too lazy right now — and too whipped up with outrage since starting to write this post— to go back further or to address the supporting races (Goldie Hawn in "Cactus Flower"!).
But the posters in The Envelope's Gold Derby forums don't shrink from any Oscar year and have been playing this same fantasy game themselves since just before the recent Academy Awards in February. Check out their fumings here. Click through the page numbers at the bottom and top of the forum thread to keep reading. And then add your own picks for an Oscar pull-back.
Caresa: "I would take away 'Crash''s BP Oscar and give it to 'Brokeback Mountain' in 2005."
Pacinofan: "'Since I think no one ever squandered their Oscar win more than Cuba Gooding Jr., I would take his Oscar and give it to ... anyone I happened to come across on the streets."
AJ: "Jack Lemmon should give his 'Save the Tiger' Oscar to Al Pacino for 'Serpico,' but Jack Lemmon deserved the lead Oscar for 'Some Like it Hot' over Charlton Heston in 'Ben-Hur.' "
As another one of the hopefuls gets booted off of "American Idol" tonight, consider which of the remaining 10 is likely to match the achievements of Season 1 champ Kelly Clarkson. Her fourth album — "All I Ever Wanted" — just entered the Billboard charts at No. 1.That bounced U2 from the top of the perch. The Irish band ended up in the third position for the second week of sales for "No Line on the Horizon."
Kelly Clarkson pulled off this impressive feat with a flurry of promotional appearances, including singing her No. 1 single "My Life Would Suck Without You" on last week's live "American Idol." Back in January, she broke a Billboard record when that first cut from the album jumped 97 places in just one week. And while critics are divided about her return to a more familiar style, the impressive sales of that single, and to some extent the album, could help raise Clarkson's profile come Grammy nominations time.
However, while it is tempting to tout this album as Kelly Clarkson's comeback, the first week sales are actually below those for her last effort — the introspective 2007 disc "My December." That album, which boasted a different sound from the pop princess, was met with confusion by critics and fans alike and barely went platinum in the end. That it was characterized as a disappointment was due more to the staggering success of her second album — "Breakaway" — than the failure of this third one.
After all, the breakthrough "Breakaway" sold 6 million copies and won Kelly Clarkson a pair of 2006 Grammy Awards for best female pop vocal performance ("Since U Been Gone") and pop album. By comparison, "Thankful" — the debut album that followed in the wake of her 2002 crowning as the first "American Idol" — went double platinum but failed to impress the critics.
Of the other six "American Idol" winners to date, only one really wowed the recording industry with their first efforts. That was Season 4 champ Carrie Underwood who was named best new artist at the 2007 Grammy Awards. And she has won three consecutive Grammys for female country vocal performance: 2007 ("Jesus, Take the Wheel"), 2008 ("Before He Cheats"), and 2009 ("Last Name"). Carrie Underwood has also won five American Music Awards, five Country Music Assn. Awards, six Academy of Country Music Awards, and six CMTs.
The fact that the Emmys killed off the category for variety performers means that "three of the major highlights of an otherwise relatively dreary TV season" will be snubbed, according to our forums moderator Robert "Rob L" Licuria (AwardsHeaven.net).
He cites Tina Fey's portrayal of Sarah Palin on "Saturday Night Live," Hugh Jackman hosting the Oscars and Jon Stewart's battle with CNBC star Jim Cramer on "The Daily Show." Gold Derby already dished the Stewart/Cramer snub in another blog post, but let's explore it further plus other snubs while discussing this rule change in more detail.
The title of the category zapped by the Emmys is "outstanding individual performance in a variety, music or comedy program." That means from here on out, principal performers will vie for Emmys only as part of the teams nominated for best variety series or special. Stand-out star turns will no longer get solo notice, and they will not be acknowledged at all by the Emmys if the shows in which they are part of don't win.
Another forums moderator -- Chris "Boomer" Beachum -- is also riled up about that change. As he says, "Sometimes a performer deserves an Emmy for individual performance, but the series or the special does not deserve an Emmy. As it stands now, the only way for a performer to win or be nominated is if the program is as well."
Beginning last year, kudocasts now compete in a special class at the Emmys rather than with other variety specials. And the new Emmy rules are unclear as to whether the host of an awards show will be included with the nominated producers.
Hugh Jackman won an Emmy for hosting the 2004 Tonys. Billy Crystal earned three Emmys for emceeing the 1988 Grammys and both the 1991 and 1998 Oscars. And Whitney Houston prevailed for performing "Saving All My Love for You" at the 1985 Grammys. After taking another look at that socko opening song by Hugh Jackman, with an assist by nominee Anne Hathaway, from this year's Oscarcast at the academy's official YouTube channel, do you agree with Rob and Chris that he deserves to be in the running once more?
Rob's take on the new Emmy situation is as follows:
OK, this is how I see it:
1.) Variety, music or comedy ("VMC") series and/or specials have their own directing category, writing category, and even things like lighting direction and costume categories, but they no longer have an individual performance category for what is arguably the most important aspect of variety programming -- the performances!
2.) The question is: In what category or categories are performers in VMC programs now eligible?
3.) As we saw last year, "series regulars" on "sketch comedy shows" may enter in the supporting actor/actress in a comedy series categories. Amy Poehler from "Saturday Night Live" was able to make the most out of this rule change and was nominated in supporting actress in a comedy series last year (see Page 42 of the Emmy rules). So the likes of Poehler, Andy Samberg, Kristin Wiig and any other series regulars on other sketch comedy shows are safe (albeit they are now dumped into more competitive categories).
4. The Emmy rules (on Page 42) now state that "the principal host" of a VMC series is now eligible to be entered with the program in category 70 (outstanding VMC series). Similarly, "the principal host/performer" is now eligible to be entered with the program in category 71 (outstanding VMC special).
5.) This would see people like Jon Stewart, Stephen Colbert, David Letterman, Jay Leno, Bill Maher, Jimmy Fallon, Conan O'Brien and Craig Ferguson be the recipient of an Emmy statuette along with the producers of their respective shows, should their show win. This is confirmed on Page 47, where, under category 70 (VMC series), it states that the the Emmy goes to (among others) "the principal host."
It also specifically says on Page 42 that "secondary performers are no longer eligible." This means that someone like a guest on "Tonight Show" is no longer eligible to receive an Emmy at all.
After Natasha Richardson's death from head trauma during a skiing accident, it's important to recall what a vital life she's had as a performer.
In 1998, Natasha Richardson won a Tony Award for lead actress in a musical for her appearance in the Roundabout Theatre Company's acclaimed production of "Cabaret." The show was helmed by Sam Mendes and co-directed and choreographed by Rob Marshall. This reimagined revival of "Cabaret" was staged in a cabaret setting at the Henry Miller Theatre. Among the praise for her performance, the New York Times called Richardson "spectacular."
For her raw portrayal of an English singer caught up in the madness of Nazi Germany, Richardson first won the Drama Desk award. And then at the Tonys, she prevailed over a quartet of musical theater vets — Betty Buckley ("Triumph of Love"), Marin Mazzie ("Ragtime") and co-nominees Alice Ripley and Emily Skinner ("Side Show").
Five years earlier, Natasha Richardson had earned a Tony nod for her Broadway debut in the third rialto revival of Eugene O'Neill's "Anna Christie." In the race for lead actress in a play, she competed against her aunt Lynn Redgrave, who paid tribute to Natasha's grandfather, Sir Michael Redgrave, in "Shakespeare for My Father." They and Jane Alexander ("The Sisters Rosensweig") lost to Alexander's co-star Madeline Kahn.
Richardson's soon-to-be husband Liam Neeson made his Broadway debut opposite her. He too was nominated for a Tony Award, losing to Ron Liebman for "Angels in America: Millennium Approaches." However, the play did win the Tony for best revival.
When Natasha Richardson emerged as a notable stage star in 1986 at age 23 with an appearance opposite her mother, Vanessa Redgrave, in Chekov 's "The Seagull," she won the London Drama Critics' Circle award as most promising newcomer.
Richardson also received kudos for her film work. She twice won the Evening Standard prize for best actress. Her first victory came in 1990 for roles in "The Comfort of Strangers" and "The Handmaid's Tale." And she prevailed again in 2005 for "Asylum," which she also produced. In an interview with the awards' sponsoring newspaper, Richardson described the project about the wife of a psychiatrist who falls in love with a mental patient committed to an institution for killing his wife as " a small, dark, sexy film" adding, "I felt a connection with it like you feel when you fall in love."
There is a spirited debate in the forums about whether Angela Bassett of "ER" should put herself forward in the lead or supporting category at this year's Emmy Awards. The Oscar-nominated actress ("What's Love Got to Do With It") has joined the cast of the NBC medical drama as attending physician Cate Banfield for the final season of its 15-year run. Were she to get a lead nod and then win, Angela Bassett would make Emmy history as the first African American actress to prevail for a regular lead role on a drama series.
"ER" has won 22 of its record 122 Emmy nominations. However, only one of those Emmys went to a series regular — Julianna Margulies as supporting actress for the first season in 1995. And the last series regular to be nominated was Maura Tierney in that same category in 2001. But, as forum moderator Darrin "DoubleD" Dortch points out, "'ER's' buzz has skyrocketed. Since this has been a relatively dim TV season for series television, I'm wondering if 'ER' will score some major nods after years of being ignored." While some disagree with his assessment of the quality of other shows, other forum posters build on his theory.
Poster lovemyshowGIRL sums up the history of African American women in the lead races at the Emmys. Only one — Isabel Sanford — has won for lead actress in a comedy series. She did that in 1981 on the third of her seven consecutive nods for "The Jeffersons." And just three others have been nominated for lead actress in a comedy series: Diahann Carroll for "Julia" in 1969, Nell Carter for "Gimme a Break" in 1982 and 1983, and Phylicia Rashad for "The Cosby Show" in 1985 and 1986.
While Rashad was the last African American actress to contend for comedy series lead actress, her sister — Debbie Allen — was the first to be nominated for lead actress in a drama series. She earned four consecutive nods for "Fame" from 1982 to 1985. In the first year, she lost to Michael Learned, who won for the single season of "Nurse." For each of the next three years, Tyne Daly of "Cagney & Lacey" prevailed.
In 1986, Alfre Woodard picked up the third of her eventual 15 Emmy nominations with her sole bid for lead actress in a drama series for her work on "St. Elsewhere." She lost to the other half of "Cagney & Lacey" Sharon Gless.
Three years earlier, Woodard had become only the second African-American woman to prevail in the supporting actress drama series category with her win for "Hill Street Blues." The first was Gail Fisher who won this award in 1970 for her work as the loyal secretary on "Mannix." Madge Sinclair won this award in 1991 for "Gabriel's Fire" as did Mary Alice for "I'll Fly Away" in 1993. Jackee Harry remains the only African American woman to win the supporting comedy race with her 1987 victory for "227."
The star of the heartwarming family drama "I'll Fly Away" Regina Taylor was a lead actress nominee in 1992 and 1993. First she lost to Dana Delany for "China Beach" and then to "Picket Fences" star Kathy Baker. Baker also edged out the most recent African American woman to be nominated for lead actress in a drama series — Cicely Tyson for "Sweet Justice" — in 1995. Ironically, Tyson had been the first African American actress to win an Emmy for a leading role with the groundbreaking 1974 telefilm "The Autobiography of Miss Jane Pittman."
Angela Lansburyhas returned to her first love — the theater — in triumph, earning rave reviews for her appearance as a larger-than-life medium in the revival of Noel Coward's "Blithe Spirit." Angela Lansbury has already won four Tony Awards for lead actress in a musical — "Mame" (1966), "Dear World" (1969), "Gypsy" (1975) and "Sweeney Todd" (1979). Two years ago, she contended for the first time as lead actress in a play for "Deuce" but was bested by Julie White for "The Little Dog Laughed." Were she to win for this new role in the old chestnut "Blithe Spirit," Lansbury would be tied with Julie Harris who has five Tony Awards, all for lead actress in a play.
The original 1941 run of "Blithe Spirit" predated the Tony Awards by six years. However for the 1987 revival, Geraldine Page contended as lead actress for playing Madame Arcati. She lost to Linda Lavin in Neil Simon's "Broadway Bound." Page never won a Tony in her three bids and did not win an Oscar till nod No. 8 in 1985 for "A Trip to Bountiful."
While Angela Lansbury lost only that last Tony race of hers, she failed to prevail in any of her three Oscar nods for supporting actress ("Gaslight," 1944; "The Picture of Dorian Gray," 1945; and "The Manchurian Candidate," 1962). And she holds the dubious distinction of having lost more Emmy races for acting than any other performer — 18 times including 12 consecutive nominations for lead actress in a drama series for "Murder, She Wrote" from 1985 to 1996.
One of Lansbury's chief rivals for the lead actress in a play Tony will be two-time Oscar winner Jane Fonda ("Klute," "Coming Home") who opened to her own great reviews for "33 Variations" last week. While Lansbury had been away from Broadway for a quarter of a century before returning in "Deuce," Fonda was last on stage in 1963. While she contended for a Tony for her 1960 Broadway debut, Fonda lost that race. However, unlike Lansbury, she does have an Emmy Award, winning on her only try for her lead performance in the 1984 telefilm "The Dollmaker." And were Fonda to win the Tony, she would become the 17th performer to have taken the triple crown of acting awards.
Among the critics who cheered the loudest for Lansbury was Ben Brantley of the New York Times who said, "It’s Madame Arcati who walks, or rather dances, away with the show, as she has always been wont to do. Those who know Ms. Lansbury only as the bland, level-headed Jessica Fletcher of television’s 'Murder, She Wrote”' may not be aware of this actress’s depth and variety of technique."
Michael Kuchwara of the AP thought, "Lansbury's performance also captures the essence of the elegant Coward fizz, champagne bubbles of witty conversation that should trip along effortlessly." And for Joe Dziemianowicz of the New York Daily News, "Watching the 83-year-old Lansbury work her magic is endless fun, as she seemingly channels past characters, from the loopy Mrs. Lovett from 'Sweeney Todd' to the cagey detective Jessica Fletcher from 'Murder, She Wrote.' You wonder what the actress will do next, and when she launches into her go-into-my-trance dance, she’s simply hilarious."
Our trusty Oscar Buzzmeter contributor Kevin Lewin of World Entertainment News Network wants to alert Gold Derby readers to what he calls his "earliest Oscar pick this year" — "Paris 36," distributed by Oscars-savvy Sony Pictures Classics, which most recently had "Rachel Getting Married," "Frozen River," "The Class" and "Waltz with Bashir" in the derby.
When it was shown at the Toronto and Montreal film festivals, it was widely compared to past Oscar contender "Amelie" in whimsical approach. But it also deals with tough political themes and social issues as it aims to capture the spirit of life in the music halls of Paris prior to World War II. It opens April 3 in limited release.
Variety predicted that "Paris 36" will have "slow-burn positive word of mouth" and said it "can't help but recall" a few films that did well in recent Oscar derbies: "Moulin Rouge!" and "La Vie en Rose." The trade paper described the pic thus in its review: "A bracingly old-fashioned, lushly visualized showbiz meller set against pre-World War II Gallic political unrest, 'Paris 36' is a loving tip of the hat to studio-bound French pics of the period that's plenty entertaining on its own terms."
Now add to that the views below penned by Kev for Gold Derby readers:
As the dark days of the recession grip the world, the movie house has never been more important -- and the right film can help us all escape the harsh realities of life, even if it's just for a couple of hours.
I like the best blockbusters, the well-made dramas and the crack-up comedies as much as the next man, but it's often the little films that just touch you, which provide the most relief from the doom and gloom outside the cinema.
And, just like last year's "The Visitor," we already have a gem of a movie to look forward to -- and, no big surprises, it's French.
I'm one of those lucky guys who doesn't always have to pay to see movies, and that means I can risk a few hours to watch a film that might just raise my spirits. It's more miss than hit, but occasionally I find treasure in the darkness of a screening room.
So, just like I spread the word about Richard Jenkins in "The Visitor" last year, I'm offering up "Paris 36" as my earliest Oscar pick this year.
It's another Sony Pictures Classics instant classic -- a "Cinema Paradiso"-esque foreign film all about community, family and hope, set among the hardships of pre-war France. It's the perfect film for the times -- all about how an eclectic bunch of actors, stagehands and their friends band together to save a vaudeville theater.
After "Grey Gardens" debuts on HBO on April 18, expect it to be a major player at the Emmys. Not only will it be a front-runner to win best TV movie, it'll probably reap acting noms for Jessica Lange and Drew Barrymore as "Big Edie" and "Little Edie" Beale, the eccentric aunt and cousin of Jackie Kennedy Onassis. Perhaps even Jeanne Tripplehorn as Jackie.
The two Edies were a combative mother-daughter duo who lived a pathetic life of faded aristocratic glory in a crumbling, raccoon-infested mansion in East Hampton, N.Y., that was nearly shut down and razed by the local health department in the 1970s. Their plight was exposed by the National Enquirer and New York magazine, and their home was rescued by Jackie and her sister Lee Radziwill. The two Edies' story and personal oddities were captured vividly in a 1975 documentary that's become a cult classic.
In 2006, the documentary was adapted into a stage musical that debuted at Playwrights Horizons in New York and then transferred to the Walter Kerr Theatre on Broadway, where it ran for 308 performances, closing in July 2008. It was nominated for 10 Tony Awards in 2007, winning three: best actress (Christine Ebersole as Little Edie Beale), featured actress (Mary Louise Wilson as Edith Bouvier Beale ) and costumes. It lost best musical to "Spring Awakening."
The HBO telefilm is a new dramatic adaptation of the original documentary.
Portraying Little Edie was such a traumatic experience for Drew Barrymore that she told W magazine it reminded her of her stint in rehab and prompted her to go into seclusion for six months.
While portraying the role, Barrymore said, "I thought, 'I'm afraid beyond anything I've ever known. I'm miserable, I'm scared, I feel sick all the time.' And I was like, 'Good! At least I have somewhere to put it.' "
"Saturday Night Live" star Andy Samberg has been tapped to host the 18th annual MTV Movie Awards on May 31. While these freewheeling kudos have traditional categories for picture and performance, awards are also handed out in more offbeat races like best villain and best kiss. Nominations will be announced in the coming weeks. Last year, "Transformers" won best picture while acting honors went to Ellen Page ("Juno") and Will Smith ("I Am Legend").
Andy Samberg's stock in Hollywood is certainly on the rise these days. He co-stars in the upcoming "I Love You, Man" with Paul Rudd and Jason Segel. And in his four seasons on "SNL," he has established himself as the go-to guy for daring digital shorts. In 2007, he shared in an Emmy for crafting the notorious "... in a Box" that he performed with co-writer Justin Timberlake. This season, the pair appeared with good sport Beyonce in a remix of her video for "Single Ladies."
Andy Samberg might want to ask Justin Timberlake for advice on how to handle the raucous crowd that comes to these movie kudos as the singer emceed the 2003 edition with Seann William Scott. And he might want to seek out "SNL" alum Mike Myers for tips on what not to do. Last year, Myers returned to emcee the MTV Movie Awards 11 years after first pulling hosting duty. Back in 1997, Myers was red hot with the success of "Austin Powers." In 2008, he was eager to bring attention to his upcoming comedy "The Love Guru." That film would open three weeks later to scathing reviews and go on to win three Razzies for worst picture, actor and screenplay.
Other recent hosts include Sarah Silverman (2007), Jessica Alba (2006), Jimmy Fallon (2005) and Lindsay Lohan (2004). Samberg was among the team of writers who worked on those last two awardscasts and told MTV that hosting, "will be a sweet and satisfying homecoming."
And while talking to MTV about taking on the gig, Andy Samberg, 30, harkened back to the early days of the awards, way back in the nineties: "I grew up watching the show and a lot of the past hosts are heroes of mine." The kudos' connection with "SNL" dates back to the first year, 1992, when Dennis Miller handled the hosting.
As "Battlestar Galactica" makes its final voyage on the Sci Fi Channel this Friday night, many award-watchers wonder if it may land in a top Emmy category at long last.
Despite being hailed as one of TV's greatest dramas of recent years, "Battlestar Galactica" has been nominated only as high up as for its writing (twice, losing in 2007 and 2008) and directing (losing in 2007). It's other 11 Emmy bids were all in the technical categories, resulting in two wins, both — as you might expect — for visual effects (2007, 2008).
Last year, fans believed that "Battlestar Galactica" might finally have appeared on the Emmy radar when star Mary McDonnell — surprise — made the top 10 list of semifinalists for the lead actress race, but she didn't get nominated and probably didn't have a prayer.
Several years ago, the Emmys created judging panels that were designed to give lower-rated series like "Battlestar Galactica" a fair shot competing against the Nielsen titans by having judges screen sample episodes. But just when McDonnell made that top 10, TV academy chiefs changed the rules last year to diminish judges' input by half when they mixed their scores on a 50/50 with the results of the original popular vote. Ridiculous! That defeated the whole purpose of the panels' existence, and Emmy leaders did it for the worst possible reason: They couldn't take the heat when the producers of "Lost" screwed up the year before, submitted a lousy sample episode to judges in the best-series race and the show got snubbed, triggering screams from America's top TV critics.
This year, to save money, the Emmys killed off the panels completely and probably all hope that "Battlestar Galactica" could get the notice it deserves as it competes for the last time. "Probably" because, let's assume, given the show's low ratings, that McDonnell just made the bottom rungs of her category's top 10. If she actually landed in the sixth or seventh position, she might come back this year, considering the Emmys are expanding the number of nominees in the top acting and series slots to six or seven.
When the show gets snubbed again by the Emmys, expect to hear lots of loud, hypocritical cries of outrage from journalists, who've done the same thing themselves over and over. Despite members giving "Battlestar Galactica" roaring reviews, the Television Critics Assn. has never given it any award. That will probably change this year, but don't count on it winning best drama series. In the past, TV critics flogged the Emmys for neglecting "Buffy the Vampire Slayer" and "The Wire" but snubbed them too in the drama-series race. Once those shows left the airwaves, they stuck them with the absurd TCA heritage award, which is pretty much a consolation goodbye kiss.
How deserving is "Battlestar Galactica" for real awards notice?
Maybe it's wacky to tackle this so early — nominations don't come out till July — but I just invited our gutsy forum posters to start forecasting the next Emmy lineups. So let's add some Gold Derby perspective too.
Nominees for this TV award are a lot like TV reruns. They come back again and again, year after year, but now there's a radical revamp in the voting process that may trigger somewhat different results. Among new series, "The Mentalist" has been a hit but is perhaps too fantastic and eerie for the safe taste of Emmy voters, who usually aren't too welcoming to crime procedurals anyway. Voters often do embrace new HBO series, whatever they are, but a stake may be driven through the Emmy hopes of "True Blood" (which was nominated for best drama at the Golden Globes), considering how that superhit "Buffy the Vampire Slayer" was once so cruelly shunned by the TV academy.
"Kings" gets praise from some TV critics and mixed reviews from others. The L.A. Times calls the modern update of the Old Testament tale of David and Goliath "an interesting muddle of a show," but it's pretentious, so that's a plus with those notorious Emmy snobs. Read this L.A. Times article about a few more dramas premiering in midseason.
In recent years, nominees were selected using a two-stage voting process. In 2006, 2007 and 2008, 10 series and actors in each category (15 in the acting races in 2006) were chosen by academy members using a popular ballot. Then the semifinalists were whittled down to the final nominees after sample TV episodes were screened by judging panels that convened at the TV academy and the Beverly Hilton Hotel.
This year the TV academy just made the terrible decision to kill off the judging panels in an effort to save money. That means we're right back where we started prior to 2006, with lower-rated underdog contenders getting screwed. In other words, Bryan Cranston ("Breaking Bad") might be back this year because he gained stature after winning best drama actor last September, but don't expect other critically hailed work on little-seen, brilliant cable shows to get a fair shot.
However, this new system does make predicting the Emmys much simpler, since pundits need only to focus on the most popular faves. In an effort to help the small fries a bit, the academy has increased the number of nominees in each race to six (sometimes seven), up from the usual five.
Let's start off dishing the battles in the top drama categories for series, actors and actresses. See more noodling and predix in The Envelope's Gold Derby forums.
* = Nominee last year
BEST DRAMA SERIES (Favorites) "Boston Legal" * "Damages" * "Dexter" * "House" * "Lost" * "Mad Men" * (last year's winner) "No. 1 Ladies Detective Agency" "24"
Due to an accounting quirk, there were six nominees in this race last year and five of them will probably be back: "Damages," "Dexter," "House," "Lost" and "Mad Men." "Boston Legal" is vulnerable now that it's saying bye-bye. Past champ "24" (2006) wasn't eligible last year, so there's a good chance it'll nab a bid now that it's jumping back into the derby. "The Tudors" made the top 10 rundown last year and "Big Love" in 2006, so they could make the next top six or seven. "In Treatment" didn't make the 2008 semifinalist list, but it could be buoyed now by its two Emmy victories last September for best supporting actress (Dianne Wiest) and guest star (Glynn Turman).
A few of our forum posters think past champ "ER" has a shot since it's experiencing a comeback in its final season. Among new series, HBO's "No. 1 Ladies Detective Agency" hasn't premiered yet, but reviews from U.K. where it aired last week are strong. "The Mentalist" is a relative ratings success, "True Blood" was nominated at the Golden Globes, and "Kings" reigns among some TV critics.
BEST DRAMA ACTOR Gabriel Byrne, "In Treatment" * Bryan Cranston, "Breaking Bad" * (winner) Michael C. Hall, "Dexter" * Jon Hamm, "Mad Men" * Hugh Laurie, "House" * James Spader, "Boston Legal" * Kiefer Sutherland, "24"
Past champ Kiefer Sutherland will be back because "24" has been much missed. Denis Leary ("Rescue Me"), Kyle Chandler ("Friday Night Lights") and Patrick Dempsey ("Grey's Anatomy") made the top 10 runoff last year, so that tells us they have a strong base of popular support. Jonathan Rhys-Myers ("The Tudors") didn't make the runoff in 2008, but he may soon be forgiven for weighing 300 pounds less than the real King Henry VIII and being infinitely more pretty. Bill Paxton ("Big Love") made the run-offs a few years ago, but not since. This year's newbies who might break through include Ian McShane ("Kings"), who was nominated in this Emmy race for "Deadwood" in 2006, Patrick Swayze ("The Beast") and Simon Baker ("The Mentalist").
The last Oscars derby ended just weeks ago, but -- admit it -- you can't wait to find out which ponies are out front for the next race. Our forum posters are already making early predix here, but below is some of our own noodling too.
Among the Oscar contenders for best picture, for example, are Peter Jackson's "The Lovely Bones," Clint Eastwood's untitled project, Martin Scorsese's "Shutter Island," Rob Marshall's "Nine," Ang Lee's "Taking Woodstock" and Stephen Frears' "Cheri."
The Oscar winning "Lord of the Rings" scripters Peter Jackson, Fran Walsh and Philippa Boyens adapted Alice Sebold's best-selling novel, "The Lovely Bones." Jackson -- who also won Oscars for directing and producing the third film in the 'Rings' trilogy -- performs the same roles here. Oscar nominee Saoirse Ronan ("Atonement") is the murdered girl who watches over her grieving parents -- Oscar nominee Mark Wahlberg ("The Departed") and supporting actress winner Rachel Weisz ("The Constant Gardener").
Clint Eastwood won his two directing Oscars for best picture champs "Unforgiven" (1992) and "Million Dollar Baby" (2004). Four-time nominee Morgan Freeman co-starred in both those films and won the supporting Oscar for the latter. The old friends reunite for this fact-based film (at one time titled "The Human Factor") set in post-apartheid South Africa. Freeman portrays Nelson Mandela and Oscar nominee Matt Damon ("Good Will Hunting") as the coach of the first integrated rugby team.
With the period crime drama "Shutter Island" based on the 2003 best-selling mystery by Dennis Lehane ("Mystic River"), Martin Scorsese helms his first film since winning an Oscar for 2006 best picture "The Departed." Three-time Oscar nominee Leonardo DiCaprio ("What's Eating Gilbert Grape," "The Aviator," "Blood Diamond") takes direction from Scorsese for the fourth time. He plays a U.S. marshal searching for a patient (Emily Mortimer) missing from a Cape Cod hospital for the criminally insane in 1954. Oscar winner Ben Kingsley ("Gandhi") is the head of the hospital, with Oscar nominees Max von Sydow ("Pelle the Conqueror") as a dubious doctor and Michelle Williams ("Brokeback Mountain") as DeCaprio's wife.
Rob Marshall ("Chicago") works his magic on another stage-to-screen transfer with an adaptation of the 1982 Tony-winning best musical "Nine" that was, in turn, inspired by Federico Fellini's 1963 Oscar-winning "8½." Two-time Oscar winner Daniel Day-Lewis ("My Left Foot," "There Will Be Blood") is the wayward film director at the center of the action, while a bevy of Oscar winners are the women in his life -- Marion Cotillard ("La Vie en Rose") as his faithful wife, Penelope Cruz ("Vicky Christina Barcelona") as his mistress, Nicole Kidman ("The Hours) as his protege, Judi Dench ("Shakespeare in Love") as his mentor and Sophia Loren ("Two Women") as his mother.
Oscar winner Ang Lee ("Brokeback Mountain") reunites with Oscar-nominated scripter James Schamus ("Crouching Tiger, Hidden Dragon") for "Taking Woodstock," a biopic set against the backdrop of the famed 1969 musical festival. With Schamus now head of Focus Features, expect a big push from the studio for this period piece. Emmy-nominated writer Demetri Martin ("Late Night with Conan O'Brien") plays the son of the couple -- two-time Oliver winner Henry Goodman ("Assassins," "The Merchant of Venice") and Oscar nominee Imelda Staunton ("Vera Drake") -- behind the festival. The rest of the cast is filled with theater folk, including Tony winners Liev Schreiber ("Glengarry Glen Ross") and Dan Folger ("The 25th Annual Putnam County Spelling Bee") and nominee Jonathan Groff ("Spring Awakening").
Twenty-one years after "Dangerous Liaisons," Michelle Pfeiffer reunites with director Stephen Frears ("The Queen") and Oscar-winning scripter Christopher Hampton for an adaptation of Colette's 1920 novel, "Cheri." Back then, Pfeiffer earned the first of her three Oscar nods for playing the innocent; her other noms came for "The Fabulous Baker Boys" and "Love Field." Now she is the seductress who beds the young son (Rupert Friend) of her courtesan friend (Oscar winner Kathy Bates, "Misery").
And while Pfeiffer has never won an Oscar, Meryl Streep just lost for the 13th time. She could be contending again for playing chef Julia Child in "Julie and Julia." Writer-turned-director Nora Ephron earned Oscar nods for her original scripts for "Silkwood," "When Harry Met Sally" and "Sleepless in Seattle." In her adaptation of Julie Powell's best-selling memoir, Ephron tells the parallel stories of a modern day woman -- two-time Oscar nominee Amy Adams ("Junebug," "Doubt") -- working her way through Julia Child's classic cookbook and its origins.
In flashbacks set in 1950s Paris, Meryl Streep plays the culinary wizard and her "Devil Wears Prada" co-star Stanley Tucci is her husband. An accent and a physical transformation could well earn the soon-to-be 60-year-old actress another Oscar nod after 12 leading bids and another three supporting ones. And while she has only two wins ("Kramer vs. Kramer," "Sophie's Choice") to show for her efforts, Streep should remember that all-time champ Katharine Hepburn didn't take three of her four lead actress Oscars till she was at least that age. This contender is produced by Scott Rudin ("Doubt," "No Country for Old Men," "There Will Be Blood") and due to open Aug. 7.
"I don't think that the awards necessarily get it right," Matt Damontold Parade. "I think they get it wrong more often than they get it right."
Matt Damon didn't say if he thinks the Oscars got it wrong when he and Ben Affleck won best screenplay of 1997 for "Good Will Hunting," but he apparently thinks that he should've been in the derby trot for the same film much more recently.
"I think that the best way to judge movies is, like, 10 years after they're released," he added. "I think they should actually do the awards that way. I think they should have done the Academy Awards this year for movies from 1998."
So that must mean that Matt Damon may wish not to be considered for his roles in films due out this year like Clint Eastwood's "The Human Factor," and Kenneth Lonergan's "Margaret," and Paul Greengrass' "Green Zone" and Steven Soderbergh's "The Informant" till 2019.
Hey, in the photo above, doesn't it look like Damon and Affleck are trying to give back their Oscars?
Do you think they also want to give back their Golden Globes and Critics Choice Awards?
As actors go, Ron Silver, who died Sunday at age 62, was a real winner. In 1988, he took both the Tony and Drama Desk awards as lead actor in a play for portraying a combative wannabe film producer named Charlie Fox in David Mamet's "Speed-the-Plow" on Broadway. For the Tony, Ron Silver beat Derek Jacobi ("Breaking the Code"), John Lithgow ("M. Butterfly"), and Robert Prosky ("A Walk in the Woods").
"Mr. Silver gives the performance of his career," wrote Frank Rich in the New York Times. "While one expects this actor to capture Charlie's cigar-chomping vulgarity, Mr. Silver's frightening eruptions of snarling anger and crumpled demeanor in the face of defeat make what could be another Beverly Hills caricature into a figure of pathos." Four-time Tony nominee Raul Esparza played the part in the recent revival of the play.
Prior to his death from cancer on Sunday, Ron Silver was also nominated for three Emmys. Two of those nods came in prime-time races. One nomination was as best supporting actor in a TV movie/mini for portraying a murdered con artist in "Billionaire Boys Club" in 1987; he lost to John Shea ("Baby M"). The other nomination was in 2002 in the guest series category for playing a recurring character on "The West Wing"; he lost then to Charles S. Dutton ("The Practice"). As presidential campaign advisor Bruno Gianelli, he appeared in 19 episodes of this Emmy-winning political drama over five seasons beginning in 2001.
And in 2005, Silver reaped a bid as best performer in a children/youth/family special at the Daytime Emmys as a dad who revealed to his son that he's gay in "Jack." He lost that race to his costar Stockard Channing.
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