Archive for the ‘Theatre’ Category

Obit watch: September 30, 2020.

Wednesday, September 30th, 2020

Bad day for music.

Helen Reddy.

Ms. Reddy’s first hit was a 1971 cover of “I Don’t Know How to Love Him,” a hit from the award-winning stage show “Jesus Christ Superstar.” The success of “I Am Woman,” with Ms. Reddy’s lyrics and Ray Burton’s music, came a year later.
Ms. Reddy was a frequent guest in the early ’70s on variety, music and talk shows like “The Mike Douglas Show,” “The Carol Burnett Show,” “The David Frost Show,” “The Merv Griffin Show” and “The Glen Campbell Goodtime Hour.” “The Helen Reddy Show” (1973) was an eight-episode summer replacement series on NBC.
She made her big-screen debut in the disaster movie “Airport 1975” (released in 1974) as a guitar-playing nun who comforts a sick little girl (Linda Blair) on an almost certainly doomed 747. Ms. Reddy always liked to point out that Gloria Swanson and Myrna Loy were also in the cast.

,,,

Ms. Reddy’s Broadway career consisted of replacing the lead in “Blood Brothers,” a musical set in Liverpool, for a few months in 1995. But she had a busy stage career elsewhere, starring in productions of “Anything Goes,” “Call Me Madam” and “Shirley Valentine” in England and in the United States, from Provincetown to Sacramento.

Mac Davis, good Lubbock boy.

Mr. Davis enjoyed early success as a songwriter in the late 1960s, supplying Presley with Top 10 pop hits like “In the Ghetto” and “Don’t Cry Daddy” after spending much of the decade working in sales and publishing for independent record companies.
He also wrote “Something’s Burning,” a Top 20 pop single in 1970 for Kenny Rogers and the First Edition, and “I Believe in Music,” which was recorded by the Detroit pop group Gallery, reaching the Top 40 in 1972.
“I Believe in Music” was recorded by scores of artists and became Mr. Davis’s signature song; he closed his concerts with it for decades. “Watching Scotty Grow,” another of his best-known compositions, stalled just outside the pop Top 10 for Bobby Goldsboro in 1971.

Genial, photogenic and fit, Mr. Davis had his own television variety hour, “The Mac Davis Show,” from 1974 to 1976 on NBC and was a regular guest on “The Tonight Show” and other talk shows in those years. He made his acting debut in the 1979 movie “North Dallas Forty,” a comedy that starred Nick Nolte as an aging football star and Mr. Davis as a calculating quarterback.
More recently, after years of inactivity on the charts, Mr. Davis enjoyed a revival as a songwriter, collaborating with latter-day pop artists like Avicii, the Swedish D.J. with whom he wrote the 2014 global pop hit “Addicted to You.” (Avicii died at 28 in 2018.)
He also wrote “Young Girls” with the pop star Bruno Mars; a version released by Mr. Mars in 2012 was certified platinum by the Recording Industry Association of America. Mr. Davis’s other projects over the last few years included collaborations with the country star Keith Urban and the singer Rivers Cuomo of the band Weezer.

“What you gonna do when you get out of jail?…” part 168

Monday, September 14th, 2020

Today: the majestic moose!

From the Simple Living Alaska channel, “Butchering a Moose”.

278 pounds of moose meat!

Okay, that was a little long, so here’s a coffee break sized one for you. I’ve written before about the legendary Broadway flop “Moose Murders”. (Which, of course, I never saw, because I was just under 18 at the time, didn’t live in New York City, and it opened and closed on the same night.)

So this wonderful eccentric decided, as the final for a class he was taking, to direct the opening scene of “Moose Murders”. And now it is up on the ‘Tube.

Bonus bonus, also short: “B-roll” from the Beautiful Soup Theater Collective revival.

Obit watch: September 10, 2020.

Thursday, September 10th, 2020

It is the stated policy of this blog that, if you were a Bond girl, you get an obit.

But that doesn’t matter, because Diana Rigg would have gotten one no matter what. THR. Variety. BBC.

Rigg was a member of the Royal Shakespeare Company from 1959-64, touring Europe and the U.S. as Cordelia in a RSC production of “King Lear” (she revisited the play in 1983, when she was Regan to Laurence Olivier’s Lear); she was also Viola in a 1966 RSC staging of “Twelfth Night.”
Rigg appeared on Broadway three times, starring in “Abelard and Heloise” in 1971 (her nude scene in the play and critic John Simon’s tart assessment of her body generated publicity); a revival of Moliere’s “The Misanthrope” in 1975; and a staging of “Medea” in 1994 — drawing a Tony nomination each time for best actress in a play and winning for “Medea.”

She continued working in theater well into her 70s, starring in “The Cherry Orchard” in 2008 and “Hay Fever” in 2009, both at the Chichester Festival Theater. One of her final stage roles was as Mrs. Higgins, the protagonist’s imperious but sensible mother, in a 2011 production of “Pygmalion” at the Garrick Theater in London. Thirty-seven years before, at what was then the Albery Theater, a few streets away, she had been the play’s ingénue, Eliza Doolittle. (She played Mrs. Higgins again in the 2018 Lincoln Center Theater revival of “My Fair Lady.”)

As the third of four female sidekicks to Patrick Macnee’s dapper John Steed on ITV’s The Avengers, Rigg’s Peel became an icon in England and the U.S. The show centered on the duo — Steed with a bowler hat and umbrella, Peel in cutting-edge mod fashions — working as partners for a secret British intelligence agency in an over-the-top, sometimes surrealist England.
“She was ahead of her time,” Rigg said at a 50-year anniversary tribute to her character hosted by the British Film Institute. “Quite by accident she became this avant-garde woman, and dear God, was I lucky to get the chance to play this woman. For years afterward, people came up to me and said, ‘You were my heroine’ — not me, Emma — ‘and encouraged me to do this and that.’ Without overembellishing her influence, I do think she was a very, very potent influence in women claiming their place in this world.”

The actress also starred with George C. Scott in the Arthur Hiller-directed, Paddy Chayefsky-penned satire “The Hospital” (1971); the classic Vincent Price horror film “Theatre of Blood” (1973); the 1982 Agatha Christie adaptation “Evil Under the Sun,” in which she played the despised and thus dispatched Arlena Marshall; and most recently 2006’s “The Painted Veil,” in which she played the Mother Superior.
Other film credits include “A Midsummer Night’s Dream” (1968), “The Assassination Bureau” (1969), “Julius Caesar,” starring Charlton Heston (1970), “A Little Night Music,” with Elizabeth Taylor (1977), “The Great Muppet Caper” (1981), “Snow White,” as the Evil Queen (1987), Bruce Beresford’s “A Good Man in Africa,” starring Sean Connery (1994), “Parting Shots” (1998) and “Heidi.”

What a life.

Even more things I did not know.

Tuesday, August 11th, 2020

Allan Gurganus’s Oldest Living Confederate Widow Tells All (affiliate link) was adapted into a one-woman play starring Ellen Burstyn.

It opened on Broadway November 17, 2003, and closed after one regular performance.

Oddly, Wikipedia does not seem to have a comprehensive list of Broadway shows that closed after one performance. One of the non-Wikipedia lists I found did enlighten me about the theatrical career of Oliver Hailey, who was also a successful TV writer.

His first Broadway show, “First One Asleep” appeared in 1966 and ran for one performance.

His second Broadway show, “Father’s Day” appeared in 1971 and ran for one performance.

His third Broadway show, “I Won’t Dance” appeared in 1981. And if you guessed it ran for one performance, take two gold stars and advance to the next blue square.

He spent more time on Broadway than Moose Murders, and that’s an achievement in and of itself.

(Previously on WCD, for those who don’t recognize the “Moose Murders” reference. I believe the revival was actually an off-Broadway production, which makes the above statement technically accurate.)

Obit watch: June 30, 2020.

Tuesday, June 30th, 2020

The great Carl Reiner.

His contributions were recognized by his peers, by comedy aficionados and, in 2000, by the Kennedy Center, which awarded him the Mark Twain Prize for American Humor. He was the third recipient, after Richard Pryor and Jonathan Winters.

“I always knew if I threw a question to Mel he could come up with something,” Mr. Reiner said. “I learned a long time ago that if you can corner a genius comedy brain in panic, you’re going to get something extraordinary.”
As Mr. Brooks put it, “I would dig myself into a hole, and Carl would not let me climb out.”

Mr. Reiner returned to Broadway twice after moving west, but neither visit was triumphant. In 1972 he directed “Tough to Get Help,” a comedy by Steve Gordon about a black couple working in an ostensibly liberal white household, which was savaged by the critics and closed after one performance. In 1980 he staged “The Roast,” by Jerry Belson and Garry Marshall, two writers he had worked with on “The Dick Van Dyke Show.” That play, about a group of comedians who expose their darker instincts when they gather to roast a colleague, ran for less than a week.

THR. Variety.

Also among the dead: Johnny Mandel, film and television composer.

Mandel was considered one of the finest arrangers of the second half of the 20th century, providing elegant orchestral charts for a wide range of vocalists including Frank Sinatra, Peggy Lee, Barbra Streisand, Michael Jackson, Tony Bennett, Natalie Cole and Hoagy Carmichael.
Mandel scored more than 30 films during his Hollywood career, including the 1960s films “The Americanization of Emily” (from which the hit song “Emily” emerged), “The Sandpiper” (which contained “The Shadow of Your Smile,” earning an Oscar and a Grammy for Song of the Year along with lyricist Paul Francis Webster), “Harper,” “An American Dream” (which included the Oscar-nominated song “A Time for Love”), “The Russians Are Coming, the Russians Are Coming” and “Point Blank.”

He was perhaps most famous for writing “Suicide Is Painless” aka “The Theme from M*A*S*H”.

Obit watch: June 20, 2020.

Saturday, June 20th, 2020

Ian Holm.

A character actor who eventually played leading roles, Mr. Holm had a kind of magical malleability, with a range that went from the sweet-tempered to the psychotic. In the theater he ran the gamut of Shakespeare, from the high-spirited Prince Hal to the tormented King Lear, and he left his imprint on two roles in Mr. Pinter’s “The Homecoming”: the sleek, entrepreneurial Lenny and his autocratic father, Max.
In films, Mr. Holm incarnated characters of diverse geographic origin and nature, including a tough New York cop in “Night Falls on Manhattan” (1996), a big-city negligence lawyer in Atom Egoyan’s “The Sweet Hereafter” (1997) and a bohemian genius manqué in the title role in Stanley Tucci’s “Joe Gould’s Secret” (2000).
Exploring the world of fantasy, he was a malfunctioning robot in Ridley Scott’s “Alien” (1979) and the hobbit Bilbo Baggins in “The Fellowship of the Ring” (2001) and “The Return of the King” (2003), from Peter Jackson’s “Lord of the Rings” trilogy, and Mr. Jackson’s subsequent “Hobbit” films.

Obit watch: May 28, 2020.

Thursday, May 28th, 2020

A couple for the historical record:

Former Texas congressman Sam Johnson.

Johnson flew combat missions in both the Korean and Vietnam Wars and went on to serve more than two decades in Congress.

Johnson served seven years as a prisoner of war in Hanoi Hilton during his second tour in Vietnam, where he shared a cell with the late former Sen. John McCain (R-Ariz.).

Larry Kramer.

Obit watch: May 11, 2020.

Monday, May 11th, 2020

Jerry Stiller, of the comedy team Stiller and Meara, movies, theater, and a couple of obscure TV shows.

Mr. Stiller’s accomplishments as an actor were considerable. He appeared on Broadway in Terrence McNally’s frantic farce “The Ritz” in 1975 and David Rabe’s dark drama “Hurlyburly” in 1984. Off Broadway, he was in “The Threepenny Opera”; in Central Park, he played Shakespearean clowns for Joseph Papp; onscreen, he was seen as, among other things, a police detective in “The Taking of Pelham One, Two, Three” (1974) and Divine’s husband in John Waters’s “Hairspray” (1988). But he was best known as a comedian.

The comedy partnership of Mr. Stiller and Ms. Meara flourished for more than a decade and found a new outlet when they began doing commercials. But they eventually went their separate ways professionally — although they remained happily married and continued to perform together from time to time. Ms. Meara died in 2015.

Mr. Stiller remained active throughout his 80s. He was typically manic in a series of commercials for Capital One Bank, seen on television and heard on radio in 2012.
That same year, he played a group-therapy patient in the independent film “Excuse Me for Living.” In 2014, he provided the voice for the title character in an unorthodox animated television special, “How Murray Saved Christmas.”

“How Murray Saved Christmas” from “Great But Forgotten“.

There’s a great story at the end of the NYT obit that I won’t spoil here.

Obit watch: April 23, 2020.

Thursday, April 23rd, 2020

Shirley Knight, actress.

She did a lot of theater work (and won a Tony), did some movie work, and a whole bunch of TV (winning three Emmy awards). No “Mannix”, but she did appear on a lot of Quinn Martin productions.

Obit watch: April 17, 2020.

Friday, April 17th, 2020

NYT obit for Brian Dennehy.

Brawny and gregarious, Mr. Dennehy was often called on to play an Everyman or an authority figure: athletes, sheriffs, bartenders, salesmen and fathers. He was in scores of movies — “First Blood” (1982), “Gorky Park” (1983), “F/X” (1986) and “Presumed Innocent” (1990) were among them — as well as an assortment of television series. But his first love was always the stage.
“He was a towering, fearless actor taking on the greatest dramatic roles of the 20th century,” Robert Falls, artistic director of the Goodman Theater in Chicago, where Mr. Dennehy did some of his finest work, said in a phone interview. “They were mountains that had to be climbed, and he had no problem throwing himself into climbing them.”

We watched “First Blood” recently. Yeah, yeah, Stallone is good. But so is Dennehy: he’s really convincing as the sheriff who isn’t necessarily cruel, but just simply out of his depth and doesn’t understand what he’s dealing with until it is too late. I think it was Lawrence who made the point that “First Blood” is really a story about managerial incompetence.

He was pretty good in “F/X” as well: I still say that’s a really underappreciated thriller.

Obit watch: March 30, 2020.

Monday, March 30th, 2020

Krzysztof Penderecki, noted contemporary classical composer.

Mr. Penderecki was most widely known for choral compositions evoking Poland’s ardent Catholicism and history of foreign domination, and for his early experimental works, with their massive tone clusters and disregard for melody and harmony. Those ideas would reverberate for decades after he himself had pronounced them “more destructive than constructive” and changed course toward neo-Romanticism.
(His decision to move on was partly political: The Polish avant-garde movement had created an unhealthy illusion of freedom in a country living under Communism, he said. But it was also artistic: Experimentation had reached an impasse, he told a Canadian interviewer in 1998, because “we discovered everything!”)
Still, it was compositions from the wild first decade of his career, including “Threnody for the Victims of Hiroshima” (1960), “Polymorphia” (1961) and the “St. Luke Passion” (1966) that brought him lasting international recognition while he was still a young man.
The threnody, in particular, is a much-studied example of startling emotional effects created from abstract concepts. Following a score that often looks more like geometry homework than conventional notation, it forces an ensemble of 52 string instruments to produce relentless, nerve-jangling sounds that can suggest nuclear annihilation. Yet it was said that Mr. Penderecki dedicated it to the victims of Hiroshima only after hearing the piece performed.

John Callahan, soap opera actor. (“Falcon Crest”, “Santa Barbara”, “All My Children”, “Desperate Housewives”, “Days of our Lives.”)

David Schramm. He was “Roy Biggins” on “Wings”, and also did some Broadway and off-Broadway work.

Joe Diffie, country music star. Borepatch has a much better tribute than I could write.

Obit watch: March 27, 2020.

Friday, March 27th, 2020

The gentleman who blogs at “Say Uncle” lost his wife earlier this week.

I check out Uncle’s site somewhere between every other day and every day: he’s been on top of what’s going on in the gun sphere for as long as I’ve been following him. I join with everyone else in that sphere in extending my condolences to him and to his people.

Fred “Curly” Neal, legendary Harlem Globetrotter.

In one of the most highly anticipated elements of the Globetrotters’ routine, Neal would dribble all over the court, frequently sliding on his knees, never losing control of the ball no matter how close to the hardwood he had lowered himself. Then he would bounce the ball through a flailing defender’s legs near the free-throw line and dribble in for an uncontested layup to finish off the move.
“Oh my gosh, he revolutionized ball handling,” Nancy Lieberman, who played for the Generals against the Globetrotters in 1988, said in a phone interview. “Everything you see Kyrie Irving doing and Steph Curry doing now, all of it started with the Trotters. The Trotters made dribbling a show.”
Neal’s trickery and showmanship established him as one of the team’s foremost stars, alongside the likes of Meadowlark Lemon and Hubert “Geese” Ausbie. Known for wearing ever-present white pads over his knees and an array of red, white and blue wristbands, Neal helped the Globetrotters’ barnstorming ensemble become a regular feature of ABC’s “Wide World of Sports” in an era when the National Basketball Association did not have a robust national television presence as it does now.

Mark Blum, knock-around actor. He worked on Broadway, was in “Crocodile Dundee”, did some other movies, and a non-trivial number of TV guest shots.

Mr. Blum was an omnipresent figure in the Off Broadway world for decades, but his biggest moment in the spotlight came in 1989 after he played a time-traveling 20th-century playwright who befriends Gustav Mahler, in the Playwrights Horizons production of Albert Innaurato’s “Gus and Al.”

He had a notable Broadway career as well, appearing in nine productions over three and a half decades. He made his Broadway debut as a particularly versatile theater professional — playing an unnamed Venetian (one of four), understudying two roles and acting as assistant stage manager in “The Merchant” (1977), set in 16th-century Venice and inspired by a certain Shakespearean classic.
Other Broadway roles included Eddie, the young main character’s recently widowed and debt-ridden father, in Neil Simon’s “Lost in Yonkers” (1991), with Irene Worth; Spalding Gray’s campaign manager in “Gore Vidal’s The Best Man” (2000), a role he reprised as a replacement in the 2012 revival; Leo Herman, a.k.a. Chuckles the Chipmunk, the detestable host of a children’s television show, in “A Thousand Clowns” (2001); and Juror No. 1, the reasonable foreman, in “Twelve Angry Men” (2004).

He appeared in almost 30 films, including “Desperately Seeking Susan” (1985), as a married hot-tub salesman; “Crocodile Dundee” (1986); and “Shattered Glass” (2003). His most recent, “The Pleasure of Your Presence,” a romantic comedy about a wedding in the Hamptons, has been completed but not yet scheduled for release.
Over the decades he appeared on dozens of prime-time series — among them “Miami Vice,” “Roseanne,” “Frasier” and three shows in the “Law & Order” franchise — and he remained active into 2020. He appeared in 30 episodes of the Amazon series “Mozart in the Jungle” as Union Bob, a rules-obsessed symphony orchestra piccolo player. His most recent roles were on the drama series “You,” as a mysterious bookstore owner and stroke victim; “Succession” (2018-19); and “Billions,” in an episode scheduled to air in May.

Obit watch: March 25, 2020.

Wednesday, March 25th, 2020

Terrence McNally, noted playwright.

Mr. McNally’s Tony Awards attest to his versatility. Two were for books for musicals, “Kiss of the Spider Woman” (1993) and “Ragtime” (1998), and two were for plays, and vastly different ones: “Love! Valour! Compassion!” (1995), about gay men who share a vacation house, and “Master Class” (1996), in which the opera diva Maria Callas reflects on her career.
And those prize winners were only a small part of his oeuvre. With some three dozen plays to his credit, as well as the books for 10 musicals, the librettos for four operas and a handful of screenplays for film and television, Mr. McNally was a remarkably prolific and consistent dramatist.

Hattip on this to Lawrence, who also pointed out that Mr. McNally did a guest shot on “The Greatest American Hero”. He actually did guest shots on a small hand full of TV shows, including “Salvage I” (that sounds like a “blink and you’d miss it” appearance), “CHiPs”, and “The Young and the Restless”.

Speaking of hattips, great and good FOTB Borepatch sent over an obit for Albert Uderzo, co-creator (with the late René Goscinny) of Asterix and Obelix.

Edited to add: NYT obit.

A followup from “The Drive” that I’ve been meaning to post for a couple of days: Kenny Rogers, dirt racer.

Rogers paired up with Sprint Car Hall of Famer C.K. Spurlock and campaigned his own team for several years before the two formed Gambler Chassis Company. Taking its name from Rogers’ famous song The Gambler, this project was anything but a gimmick. The company would go on to win races with stars like Steve Kinser, Sammy Swindell, and Doug Wolfgang behind the wheel. Simply put, Gambler cars were consistently some of the fastest in the United States, taking victories at primetime events like the Knoxville Nationals.

Obit watch: March 3, 2020.

Tuesday, March 3rd, 2020

James Lipton. THR. I wish I had more to say about him, but my anti-cable TV policy means that I never saw an episode of “Inside the Actor’s Studio”, and I’m way too young to remember “The Lone Ranger” on the radio.

One thing I don’t think I was consciously aware of until I read his obit: he also wrote An Exaltation of Larks.

Claudette Nevins. She was one of those knock-around actresses: she was in the original production of “Plaza Suite” and toured nationally with “The Great White Hope”. She also did a lot of TV, especially in the 70s: “Barnaby Jones”, “M*A*S*H” (she was the woman Charles Emerson Winchester “married” while drunk in Tokyo), “Mrs. Colombo”, “Switch”, “Lou Grant”, “The Rockford Files”, “Electra Woman and Dyna Girl”, “The F.B.I.”…and the list goes on. (She even did an episode of “Police Squad“. (“In Color”!)) Never did a “Mannix”, though, at least per IMDB.

Obit watch: February 11, 2020.

Tuesday, February 11th, 2020

I’m not sure I would have posted an obit for Terry Hands, former head of the Royal Shakespeare Company, if it hadn’t been for one particular element in his resume.

Mr. Hands was with the Royal Shakespeare Company for almost a quarter-century, joining it in 1966 to run Theatregoround, an outreach program. In 1978 he became joint artistic director with Trevor Nunn, and from 1986 until his departure in 1990 he was the company’s chief executive.
One highlight of his tenure there was his work with the actor Alan Howard, whom he directed in an ambitious staging of Shakespeare’s “Henry IV, Part 1,” “Henry IV, Part 2” and “Henry V” at Stratford-upon-Avon in 1975, with Mr. Howard starting out as Prince Hal in the first play in the cycle and growing into the title character in “Henry V.”< Another noteworthy pairing came in the 1980s, when Mr. Hands directed Edmond Rostand’s “Cyrano de Bergerac” and Shakespeare’s “Much Ado About Nothing.” Derek Jacobi and Sinead Cusack starred in both, as Cyrano and Roxane in the first and as Benedick and Beatrice in the second. Mr. Hands moved both productions to Broadway in 1984, running them in repertory.

So what was that element? He also directed the original 1988 Broadway production of “Carrie”.

With music by Michael Gore, lyrics by Dean Pitchford and a book by Lawrence D. Cohen, the show had had a rocky start at Stratford-upon-Avon, but Mr. Hands, who directed, took it to New York anyway. Critics were unkind, to say the least. Mr. Rich, singling out a scene involving the slaughter of a pig, invoked another famous Broadway flop.
“Only the absence of antlers separates the pig murders of ‘Carrie’ from the ‘Moose Murders’ of Broadway lore,” he wrote in his review.
“Carrie” closed three days after it opened and has been something of a theatrical reference point — and not in a good way — ever since. Mr. Hands, though, who during his Royal Shakespeare tenure had pushed to expand that company beyond its comfort zone, had known that failure was a possibility and had embraced the challenge.

(“Moose Murders” explained.)

“I’m haunted by the specter of endless revivals of ‘Peter Pan’ to pay for endless revivals of ‘Peter Pan,’” he told The Associated Press in 1990 shortly before he left, referring to the J.M. Barrie play that has been a Christmas perennial.

Joseph Shabalala, founder of Ladysmith Black Mambazo. The current NYT obit is an early incomplete one, with promises of a full obit later.

Mr. Shabalala began leading choral groups at the end of the 1950s. By the early 1970s his Ladysmith Black Mambazo — in Zulu, “the black ax of Ladysmith,” a town in KwaZulu-Natal Province — had become one of South Africa’s most popular groups, singing about love, Zulu folklore, rural childhood memories, moral admonitions and Christian faith.
Ladysmith Black Mambazo’s collaborations with Paul Simon on the 1986 album “Graceland,” on the tracks “Homeless” and “Diamonds on the Soles of Her Shoes,” introduced South African choral music to an international pop audience.