Here’s a question from reader Jim that set my mind a'wanderin':
What would you do to turn around NBC's fortunes?
Let's say you've been tapped to be the network's head programmer. What would you change? What would you keep? What would you do that the other networks aren't doing that would set your network apart?
First off, be it duly noted that NBC just won the November sweeps for the first time in like a decade. So they are going in the right direction. Granted, it's because of THE VOICE, SNF, REVOLUTION, and GO ON, but still -- credit where credit is due.
Now...being the head programmer wouldn't be enough. I'd have to be whatever the title is that I could really make the decisions. So assuming that utterly unrealistic fantasy...
I would cancel WHITNEY. America has voted.
I would stick with PARKS AND RECREATION.
I would aim for quality over zeitgeist.
I would not be afraid of developing sophisticated product. It's always worked before.
I would give the viewers credit for intelligence. Especially the young ones.
I would not do knock-off versions of current sitcoms. No NEW GIRL clones. No MODERN FAMILY wannabes. Not saying NBC is doing that now but that's my philosophy.
I would sit down with Lorne Michaels and see what we can do to make SNL less uneven. Maybe one fewer new episode a month? Some new writers? I don’t know. But along the way they do some inspired stuff. More of that and less of the tired lame material.
For development, I would seek out those experienced writers I admire and let them do the pet project they’ve always wanted to do. Some will come back horrendous, most will come back interesting to some degree, and a few may come back extraordinary. All you need is one.
I would not just hire actors and friends of actors to write pilots. Thinking an actor can just sit down and write a decent pilot is like me thinking I could star in BIG BANG THEORY. This attitude that we can just hire writers at some point to fix these amateurish pilots won’t fly with me.
All young writers must have a sample of original material these days. Most write pilots. I would collect all the spec pilots and buy the two best.
I would hire the best of the bunch of find places for them. You can't stockpile enough great talent.
When pairing baby writers with established showrunners I would select the veteran who is best suited for the material. I wouldn’t hire showrunners because they happen to have a deal at the studio.
Once a series gets on the air I would trust my creative partners. You run story areas by me and that’s it. The outline does not have to be approved. The draft does not have to be approved. Guest actors do not have to be approved. Neither does wardrobe or set dressing. That’s just nonsense.
Notes during production will be kept to a minimum. And no one will give notes until they’ve proven to me they’re qualified.
Single-camera comedies better be funny. Wry and mildly amusing are no longer good enough.
I bet if I ran MASH reruns on Friday night they would do better than rerunning any sitcom currently on NBC.
I would avoid the temptation to air additional episodes of THE VOICE. I wouldn't want to burn it out. Can you say SO YOU WANT TO BE A MILLIONAIRE? kids?
I love Brian Williams, think he’s the best anchor of all the major networks. But I would cancel his primetime show. No one is watching. I don’t care how cheap it is to produce.
I would drop all banners and promos from within the content of shows. They’re distracting, annoying, and completely ineffective.
I would shy away from serialized dramas. Viewers have a tough time jumping aboard in the middle, and current patterns suggest fans of these shows like to binge-watch. They’ll wait until the end of the season and watch the whole year on DVD or Netflix. That does me no good.
I would not get into insane bidding wars over projects. I would not overpay just to be in business with a certain actor or producer. This isn’t baseball. I can win without Albert Pujols. I’ll use my money more wisely.
I would have direct communication with my writer/creators. This idea of a non-writing pod producer acting as a go-between is counter-productive. And if writer/creators have questions I would encourage them to call me directly. I may not get back to them in ten minutes but I will return their calls. I don't want mid-level executives answering questions based on what they think I'll say.
In some cases, opening titles would be back.
I would use research as a tool, not a deciding factor.
I would not let Ryan Seacrest near the news or sports departments.
I would put shows on the air I don’t like but think the general audience will.
I would keep every executive currently there and give them a chance to work with my game plan. I bet there are some terrifically talented people at NBC and I'd be an idiot to just discard them out of hand. Not to mention what it would do to morale... and I'm a BIG believer in morale.
These are some of my ideas for how I would select, develop, and manage shows... in a perfect world. But that’s only part of the job. Unless you promote your line-up properly and schedule it properly you’re still not going to win. My primary objective would be to WIN. This is not cable. Prestige shows that get no numbers are fine for subscription services. They just want you to be impressed with their slate so you’ll renew every month. Whether you actually watch HOMELAND or GAME OF THRONES is way less important.
That's not the case in the network world. You need ratings. I have a number of promotion and programming ideas that are rather avant garde but I know would WIN. Those however, I’m not just giving out. Those someone will have to pay me for.
I’ll be right here by the phone.
Waiting.
Waiting for your call.
Ready to save your network.
Ready to take you to number one.
Doesn't have to be NBC.
Could be any network.
Waiting for your call.
Could be a cable network.
Hmmm.
It doesn’t seem to be ringing.
30 Kasım 2012 Cuma
If I ran NBC
#LizAndDick: My review
Oh my fucking God!
I only hope that when they do the Lindsay Lohan TV biopic – and they will – that it’s as jaw droppingly atrocious as LIZ AND DICK. They will need to find the worst actress in America to play Lindsay, if only to do the same justice to her as she did to Ms. Taylor. Although I don’t know if a worse actress can be found. Lindsay might have to play herself – assuming she’s still with us and not locked up somewhere.
LIZ AND DICK (by the way, never, not once are they referred to as Liz and Dick in the movie – it’s always Elizabeth and Richard) is the cheese-rich schlock film of the year. Imagine Ed Wood directing a screenplay by a 7th grader and starring, well… Lindsay Lohan.
The only question was: yeah, it’s fun watching a trainwreck for awhile. But could I stick it out until the very end? So I wrote this review in real time knowing that at any point I might just have to shut it off and plunge an ice pick in my head. These were my impressions as the movie unraveled.
Oh… SPOILER ALERT. I spoil everything. So if you don’t want to know what happens, I’ll see you tomorrow. But I believe in this case you’re going to want to know what happened. Either you’re not going to see this tripe anyway or once you read this you'll be compelled to see it because you think I’m making all this up. Further WARNING – this is the type of movie that brings out the snark in me in a big big way. Ready? Here goes:
This guy is Richard Burton? He’s like Jim from THE OFFICE with a phony accent. (Grant Bowler is his name. He should fire his agent.)
When was Richard Burton blonde? Or am I just being too picky about minor details?
We start with Richard’s last day alive. Adventures in bad make up. He's gray. This is like when Jr. High kids play the Ezio Pinza part in SOUTH PACIFIC.
On the set of CLEOPATRA. Lindsay’s make up is laughable. What’s with that eyeliner? The movie should be called PEE WEE AND DICK.
First Richard Burton drunk scene. First of many I suspect. Foster Brooks was more subtle.
Zero chemistry between Liz and Dick. More romantic sparks would fly with Barbara Bush and Jon Lovitz. 
I don’t understand. Suddenly there’s this convention where they’re both being interviewed. Where did that come from? And at what point in their relationship was it supposed to be?
And seriously, why is he blonde? Oh wait. I bet they just got Richard Burton mixed up with Peter O'Toole. Common mistake.
Someone says to Liz: “You’ve just ended your fourth marriage!” to which Liz defiantly replies, “Who’s counting?” What a withering zinger!
It’s 0:17. I pretty much got the gist. Nah, I’ll stick it out a little longer.
Glad I did. Richard now says: “I don’t need a pool. I’ve got a whole ocean in you.” Smooooth.
This is the suicide segment. First Sybil Burton tries it unsuccessfully, and that guilts Richard into breaking up with Liz. Two seconds after hearing this news she runs to her room, downs a bottle of sleeping pills, and chug-a-lugs a half bottle of Vodka. Maybe it’s me, but if you find yourself laughing at a suicide scene then it doesn’t have the emotional wallop the filmmakers intended. That’s at 0:29. Okay, I’ll give it one more segment.
Richard: “My heart is broken and you have the smashed pieced!” Not since THE LADY EVE has there been such crackling dialogue.
Ooooh. At the 0:31 mark Lindsay cries. She’s truly awful at it. And you’d think she’d have all that practice in court.
Elizabeth has a different fur in every scene.
They’re making THE V.I.P.’s now. This oughtta be good.
0:54 – Liz is trying to seduce Dick. Vamp music plays. She’s in a sexy teddy. Instead of Richard Burton I kept picturing Lindsay’s parole officer.
Richard: “What if your little songbird Eddie decides to drag things out for months?” Since when did he become Sam Spade? We hit the hour mark.
At 1:07 they get married, pressured by the Pope. Yes, that Pope.
Are they ever going back to Richard’s last day? What’s the point of that? 
No mention of the suicide either. I guess that was just a one-time kookoo thing and now she’s the picture of mental health.
Richard: “Happy?” Elizabeth: “More than.” Tony Kushner, eat your heart out!
I was just about to turn it off at the 1:09 mark when Richard takes a bow for his HAMLET and brings Elizabeth on stage with him. She takes a bow for a play she wasn’t in.
This is now the SPRINGTIME FOR HITLER of TV biopics.
Big crisis: Richard loses an Academy Award to Lee Marvin. He doesn’t handle it well the way most husbands do and it puts a big strain on their marriage. Maybe a drink or thirty would help.
At 1:11 comes my favorite line in the movie. Richard and Elizabeth are staging a mock fight for writer Ernest Lehman to show they’re right for the film version of WHO’S AFRAID OF VIRGINIA WOOLF? Elizabeth has the topper with: “Mellifluous. Was he some Roman homosexual that you buttered?”
The recreation of Richard and Elizabeth in VIRGINIA WOOLF looked like a bad SNL sketch. But that’s not the good part. Richard and Elizabeth are in a theater watching it. On the screen Liz says, “You make me puke!” They then cut to the audience where a viewer turns to Liz and says, “You were fantastic!” Okay, now they’re trying for laughs, right? I mean, seriously? Complimenting Elizabeth Taylor on the reading of her vomit line?
The interview is back. Where was it the last half hour? And why is it even there at all? Ask him why he's blonde.
At this point they fight, make up, fight, make up again. In the Lindsay biopic they can re-film the same scenes just substituting Lindsay’s mother for Richard Burton.
Now they have money problems. But wait, after their accountant tells them they’re broke they buy a giant yacht, a private plane, and a diamond the size of a water tumbler. This last purchase comes after Elizabeth says: “I need a ring. A big ring.” We’re at 1:26. I am sooo close to switching to Sportscenter.
I should have. At the 1:40 mark there’s an elaborate 40th birthday party for Liz (I thought they had money woes?) with waiters dressed like Cleopatra’s slaves or those buttered Roman homosexuals and Liz overhears a guest saying, “She still thinks she’s a movie star.”
This sends our fragile heroine into a tizzy and she runs to her room. How come no suicide attempt? Instead she begins the single worst crying scene in the history of cinema. Lindsay must’ve been channeling a caterwauling baby and Lucy. I’m guessing if she cried like that before a judge that’s why she was sentenced to jail time. Painful to watch and torture to hear.
Liz correctly says, “I’m a joke!” and consoling Richard says, “No, no. You’re my love.” I'm about to down a bottle of pills.
Okay, from this point I just skimmed the rest. I couldn’t stand it. They finally go back to his last day. Hooray. Always good storytelling to set something up and return it to promptly two hours later. But now that we’ve seen his life, what insights does he have as a result? What new perspective does he have? Has he reached any conclusion about his life and his actions? When we last left him he was saying to somebody, “I’m tired.” Now we pick him up walking into the next room, lying down on the bed for a nap, and that’s it. He dies. Wow. What a sequence! I skipped through Liz fainting (another great acting moment worthy of a sack of flour) and went right to her visiting his grave. As they showed her at the tombstone they flashed the watermark: #LizAndDick. Perfect time to troll for Twitter action.
Then they went back to the interview. Huh? Isn’t he dead? Oh wait. Maybe they recorded this interview in heaven after they both died?
End the fucking movie already! Please! I’ll watch an episode of AMERICA’S SUPERNANNY. Just make it stop!
Mercifully, they do. With one final great touch. They end by proving unequivocally that Liz really did love Richard. Here’s what they flashed on the screen:
ELIZABETH TAYLOR KEPT RICHARD BURTON’S LETTERS FOR THE REMAINDER OF HER LIFE.
Well, I guess that nails it.
According to one biography, Richard Burton slept with 2500 women in his lifetime. Just think of the sequel possibilities!
Angus T. Jones -- holy shit!
So Angus T. Jones has found religion and publicly told America to not watch his show, TWO AND A HALF MEN, because it’s “filth.”
Just so I have this straight – he was fine doing the show all the previous years? The subject matter of the show was not a surprise to him? It’s not like he signed up for one thing but it became something else? He’s made a ton of money over this period? He’s currently earning $300,000 an episode? And during the run of the show the producers, studio, and network have taken good care of him? He received all the (free) education he was entitled to as a minor? No labor laws were broken? He was never forced to work 20-hour days or put himself in danger at any time? Chuck Lorre never made him wash his car?
I’m not getting anything here that would sway me to take his side. No. What I see is an incredibly ungrateful confused young man who has just committed career suicide and left himself open for major lawsuits.
I guarantee that in a year, or two, or five he will look back at this in horror and say, “What the fuck did I do?” Yes, he will use the word fuck, for even if he remains a devoutly religious man he will realize that he made the biggest most costly mistake of his life. By then it will be way too late. The next time you will see him is on an E! TRUE HOLLYWOOD STORY or THE CELEBRITY FIT CLUB.
And my feeling? As someone who has been a producer and showrunner, I would feel bad that this once-good kid has had his head so turned around that he would do something idiotic like this, but I would write him out of the show immediately and send him on his holy way. His character is now in the army anyway. Time to ship out, soldier!
Now you could argue that he’s being fired for expressing his religious beliefs. I would argue that we are graciously giving someone his freedom who didn’t want to be there. Personally, I don’t care what religion he believes in, but I am asking him to believe in my show. I don’t think that’s an unreasonable request.
For a wildly successful series, TWO AND A HALF MEN has been snake-bit. One and a half men have become PR nightmares. I think the tealeaves are saying it’s time to end this show already.
This is a classic case of biting the hand that feeds you, but at the end of the day I find the whole affair just sad. Charlie Sheen is one thing. He’s supposedly an adult. But Angus T. Jones is just 19. He’s still a kid. Who hasn’t done really dumb things when they were 19? Not this dumb but still!
If I may quote what I think is the Bible:
It is better to remain silent than to speak the truth ill-humoredly, and spoil an excellent dish by covering it with bad sauce.
--St. Francis De Sales
My review of LINCOLN
Director Steven Spielberg was very disappointed in the outcome of his movie last year, WAR HORSE. Not because it bombed at the boxoffice but because it didn’t win any awards. When a Steven Spielberg movie comes out in the Fall it’s all about Oscars. And if millions of theatergoers happen to like it, well that’s just a plus. When he wants big boxoffice numbers he goes off and makes JURASSIC PARK 7 or RAIDERS OF THE LOST AARP. Now you may be saying, “Yeah, but he’s already won a bunch of Oscars. What about SCHINDLER’S LIST?” Very true but it's sort of a gimme. Can he do it without the subject matter being Jews? 
His latest effort, LINCOLN, clearly is another shot at the brass ring. While watching the movie you can almost see a running banner at the bottom of the screen saying: FOR YOUR CONSIDERATION… REMEMBER, I’M ALSO A SERIOUS ARTIST… I GOT JOBBED ON ‘SAVING PRIVATE RYAN’, YOU OWE ME…”
I wanted to love LINCOLN. I was certainly told to love LINCOLN. But I didn’t. I’m sorry, Steven. It was okay. Certain things I liked very much (more on that later). But on the whole, the message it conveyed (to me at least) was…
This movie is IMPORTANT. That’s a lot different from “this movie is totally engrossing and resonates so much that it happens to stay with you.”
LINCOLN is very manipulative. You start with the most sympathetic character in American history, center on a feel-good social story, add the usual John Williams soaring score, cast big name actors, compose each shot beautifully and artistically so that every frame looks like a painting, hire a Tony Award winning writer, show the obligatory carnage, and of course – have the cutest little boy you’ve ever seen play Lincoln’s son and establish a warm fuzzy father-son relationship that would bring a tear to a glass eye. Without spoiling the moment, there’s a key shot near the end where I wanted to yell, “Jesus, Steven, why not just splice in 5,000 frames from ET?”
The movie opens with black soldiers reciting back the Gettysburg Address to Lincoln. One of those Hollywood moments designed to make you sigh “Awwww,” or in my case: “I'm being played!”
I attended a screening of the movie and was handed a handsome program that featured credits of the filmmakers (i.e. all their awards and nominations – nowhere did it mention Spielberg directed THE TERMINAL, CATCH ME IF YOU CAN, HOOK, or 1941), stunning photos, a history lesson, and pictures of the 35 actors in the movie. IM-POR-TANT. 
There was a lot of acting in this film. And posturing. Daniel Day-Lewis was magnificent as Lincoln and will probably win Best Actor. (I mean, he was the best actor in a movie with every other good actor.) Tommy Lee Jones will definitely win Best Supporting Actor. Everyone else was fine except for Sally Field. GIDGET GOES NUTS. Does borderline crazy mean shrill, annoying, and over-the-top? Sally is a much better actress than that. It felt like she was pushing for Oscar number three.
The screenplay by playwright supreme, Tony Kushner was lyrical and verbose and there were some great lines along the way. But it was showy – in that way that you’re supposed to take notice and vote for it. IM-POR-TANT.
The film runs about two-and-a-half hours. IM-POR-TANT. They could easily cut a half hour.
Without a doubt LINCOLN will be nominated for a ton of Oscars. And it even might win the big ones. Let’s see how LES MISERABLES is along with a few other late contenders. And LINCOLN wouldn’t be the worst picture to win Best Picture. But just because a film is crowned Best Picture doesn’t necessarily make it a Great Picture. And if told his movie could be deemed one or the other, which do you think Steven Spielberg would pick?
Friday Questions
Aloha from Wailea, Maui. If you have any restaurant suggestions, please pass 'em along. Mahlo, y'all. Even in paradise I never stand down from my Friday Question watch. What’s yours?
Cannibalistic Humanoid Underground Kveller (what a name) starts us off:
The mention of the awful series finale for Mad About You brings me to a Friday question - series finales. How does a good show go bad with its series finale?
I'm sure it has something to do with the pressure to do something "special" to end the series, but, still, why do these people who have just spent seven years successfully separating good ideas from bad ones suddenly lose that ability when they hit that finale?
As opposed to movies, the overall “story” of a TV series moves very slowly. Like a glacier but not as speedy. There may be little changes along the way but by and large it’s the same people in the same situation week after week. Now suddenly you feel compelled to make a big story turn. The audience is expecting some sort of closure. You want to satisfy them while also doing it in a fresh way. That involves a risk. Sometimes the risk doesn't pay off.
Also, how much closure? Is it just getting two people married or is it like LOST where you have 50,000 loose ends? Are you going to wrap up the storyline for two characters or eight? It can get complicated. Plus, it’s the natural tendency to want to be extra grand and special. After all, you know you’ll be getting a huge audience.
And networks want you to do longer last shows so they can sell more advertising. This takes you out of the rhythm of your show. MASH for example works best as a half-four. The lines come at you so quick. And for one 30-minute chunk that’s fine. But once it goes for an hour or more the pace gets tedious. The last MASH was 2 1/2 hours. Goodbye already!
My three all-time favorite final episodes were THE MARY TYLER MOORE SHOW, NEWHART, and EVERYBODY LOVES RAYMOND. All three were just a half-hour.
I mentioned this before but had we known we were going to do a last episode of our series, ALMOST PERFECT, we would have brought back the characters from our two previous series (MARY and BIG WAVE DAVE'S) and wrapped up all three at once.
From Iron Fist:
Can somebody more experienced answer this question: Let's say you're in season 2. Do the network and cable executives personally approve the script of each episode or they trust the showrunner?
In most cases, yes. I remember talking to the showrunners of HOW I MET YOUR MOTHER during (I believe) their third season and they were still having to get stories and scripts approved. And by then their show was already a big hit.
Eventually they leave you alone but first year shows – unless they’re run by Aaron Sorkin, Chuck Lorre, or David Kelley – have to deal with it. 
Talk about the good old days – when the Fox network began they asked James L. Brooks to do a show. He said he would (the result was THE TRACEY ULLMAN SHOW) but that not only was the network never to give notes, they weren’t even allowed to come to the tapings of the show. Oh, I miss those days.
Jeff Hysen asks:
In his latest podcast, Alan Sepinwall said that Sam Malone "devolved" from smart to stupid as the show went from Shelly Long to Kristie Alley. Do you agree?
Absolutely. This was always my pet peeve. The general feeling was that they needed to make Sam dumber to get comedy out of the character. The original cool/street-smarts Sam was hard to write for – especially without Diane to play off of. I don’t agree. I liked that original version of Sam – maybe because it so mirrored me. Hey, stop laughing.
Greg wonders:
A lot of your work, particularly MASH and Cheers, have been parodied a lot in pop culture. Any of those parodies you found particularly amusing?
As a kid I idolized MAD magazine. And when they did a parody of MASH and used one of our episodes, it was like one of the greatest moments of my life.
And finally, a radio question from Bert:
It seems like an increasing number of FM radio stations are turning to a sports format, and some of these (for example KGMZ in the San Francisco area) broadcast major league baseball games.
My question concerns the FM sound quality of a major league broadcast. Having been raised on Vin Scully on KFI, KABC, etc, it sounds strange to hear the much more clear FM sound. Because the fidelity is so much better, it oddly sounds to me less like a professional broadcast.
What are your thoughts?
Here’s what you miss on FM – on AM the station generally compresses the signal to make it sound fuller. As a result, the crowd noise is raised and you have that bigger sound. FM is cleaner and with better fidelity but if you’ve listened to games on AM your whole life it just doesn’t sound right.
I still say the best way to listen to sports play-by-play is on a transistor radio under your pillow at night.
29 Kasım 2012 Perşembe
Tommy Tune on Hello, Dolly!
Broadway’s legendary song and dance man, Tommy Tune, is nowhitting the stage high stepping through his nine time Tony Award winning careercelebrating 50 years on the Great White Way. He sings, dances, and laughs hisway through those glorious musical moments that made him a Theatre Legend. TommyTune is possibly the tallest dancer in the country. We sat down to talk last month regarding hisinvolvement in the film version of Hello,Dolly!Directed by Gene Kelly and adapted and produced by ErnestLehman, the cast includes Barbra Streisand, Walter Matthau (in his only moviemusical), Michael Crawford, Danny Lockin, Tommy Tune, Fritz Feld, MarianneMcAndrew, E. J. Peaker and Louis Armstrong (whose recording of the title tunebecame a number-one single in May 1964).
The film was photographed in 65 mmTodd-AO by Harry Stradling, Sr. Though she wasdefinitely far too young for the part of Dolly Levi, Barbra Streisand shines inthe part because of that golden voice allowing her to express the story goingforward.Tommy Tune was dancing in the chorus of How Now Dow Jones when Hollywood came knocking. George Abbott wasthe director and Michael Bennett had taken over as choreographer. Working withMichael Bennett was a privilege.The number that Tommy was in was cut for theevening performances.
How Now, Dow Jones was a musical comedy byAcademy Award winner Elmer Bernstein, Tony Award nominee Carolyn Leigh and MaxShulman. The original Broadway production opened in December 1967.The casting director, Alixe Gordin, and Roger Edens werescouting New York talent for the film version of Dolly and came to a matineeperformance.
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| with Joyce Ames |
They saw Tommy do his matinee performance of a number that was cutand never seen again!
It was probably performed seven times before producerDavid Merrick cut it. Gordin and Edens called the theater. They wanted Tommyfor a screen test. He didn’t have an agent at the time. Chorus boys didn’t have agents. Someone suggested he call anagent named Peter Cereghetti. He would not be able to do a screen test exceptthrough an agent.
The big movie studios protected themselves that way. If theysee someone and they want them, and they haven’t done that much, they can beheld up in negotiations. It was called “setting up a deal.” Through Cereghetti,it was arranged for Tommy to do a screen test and be flown out to Hollywood.Tommy, first of all, had to get permission from David Merrick.
Merrick, believeit or not, felt a little bad about Tommy’s number being cut from the show.
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| Tommy teaches Streisand the joys of "Dancing," in Hello, Dolly (Source: Arm Chair Actorvist Blog) |
Prior to that, it had been called the Manhattan Theater and BillyRose’s Music Hall.
Tommy flew out overnight and rehearsed and shot the screen testmissing the Monday performance (which Merrick had graciously let him out of).
The screen test consisted of what would be Ambrose Kemper (Tommy Tune)’s firstscene in the movie. Horace Vandergelder (Walter Matthau) telling him he is asix foot six nincompoop.He didn’t film the scene with Matthau, but rather,with a very good character actor. Obviously, we know the outcome. Tommy wasasked to sign a seven year contract to appear in that movie. When they finishedthat film, it truly was the end of the big Hollywood musical. They wanted tochange Tommy’s name because it sounded too much like a musical comedyentertainer.
They wanted him to be the new Jimmy Stewart. None of what theydesired him to do or become was not right for him.
He went to the powers thatbe at Twentieth Century Fox and said, “I want to go back to New York andBroadway. Is that OK? Y’all aren’t doing movie musicals anymore. ” The Nanny and the Professor was just notcutting it for him. He did not desire to do sitcoms. His heart was not in it.Twentieth Century Fox let him out of his contract. He wanted to see his screentest. No one had been allowed to see their screen tests. He felt that hisscreen test was better than what appeared in the final result because he didnot know anything. The screen test was directed by Gene Kelly with full setsand costumes. It was just as if he was already shooting the movie. Thedifference was that TOMMY was the star of his screen test. It was all aboutscreen testing him and getting the angles on him and getting him right. When itcame to filming the movie, it was about getting it right for Walter Matthau andBarbra Streisand in their scenes.
They tested twenty seven guys for this part.It was a different time. That would never happen now.
Tommy had done TheMatchmaker in college and he had seen Carol Channing in Hello, Dolly on stage. He playedCornelius and knew the story very well. Tommy considers Carol the beginning andthe end of everything. Carol is Tommy’s theatrical godmother. He had no desireto see any of the other Broadway Dollys. Tommy says in his great memoirs, Footnotes,“What a creation Carol Channing is!She is unique. What a blessing she is to the theater! A little of the CarolChanning vitamin goes a long way.”When they were shooting the Dancing number, Tommy received the single greatest advice from hiscareer from Gene Kelly. Tommy wasn’t slacking off but Gene said to him, “Dancebetter.”
He wasn’t the choreographer. That was Michael Kidd. Tommy is theopposite of what Michael Kidd liked. He likes to have tall girls and short guysworking together. It was a sex thing. He loves for the men’s heads to be rightwhere the women’s breasts are. It was also an energy thing. It was just theopposite with Tommy and Joyce Ames who played Ermengarde. They didn’t interestKidd as a couple and there were huge possibilities. It was the reverse of whathe saw. Gene just stepped in to help. Tommy loved Gene and felt sorry for him. Theywould work with Barbra, get everything all set, and then he would get theangels as he saw fit as the director. In truth, he called Barbra, when she wasnot on the set and he was ready for her, he would say, “Bring on the dreadedBarbra.” He truly wasn’t a mean man. He would say that to the crew in earshotof everybody. She would come on, change everything, and he would go along withit. 
Tommy found Kidd very busy , very “proppy”, very athletic…notthree of Tommy’s favorite things. He likes simple, elegant, clean. Tommy believes the movie has gotten better with age. He wastotally embarrassed by the movie when it came out. Now he looks at it, andbecause standards have dropped so much in the world, he now goes, “That’s good!”or, “That’s really enjoyable.” He didn’t think at the time of its release thatit was near good enough or imaginative enough.”For one, he doesn’t feel that it was ideal casting for themovie. The match-ups didn’t all work. Roger Edens originally wanted Tommy forBarnaby. That role went to Danny Lockin. When they went to see Tommy in How Now Dow Jones, they WERE looking forAmbrose. After Roger saw Tommy, he told them back in Hollywood that he hadfound a Barnaby. He wanted them to spin their head around in a differentdirection. Roger thought that if Tommy played Barnaby, it would have taken thefilm to a different level. Tommy thought that he would have been better forCornelius, having played the role in TheMatchmaker.
That role had already been cast by Michael Crawford. Of course, Tommy feels that Carol Channingshould have done the movie. Imagine her opening her arms to Louis Armstrongduring the title number. Her warmth and presence would have made that one ofthe most magical moments ever to be seen on film. Tommy shot the film for six months.Most of Tommy’s scenes were filmed on location in Garrison,New York. One of the toughest days occurred on June 6th, 1968. Theassassination of Robert F. Kennedy, a United States Senator and brother ofassassinated President John F. Kennedy, took place shortly after midnight onJune 5, 1968, in Los Angeles, California. Tommy found out when he was awakenedearly the next morning.
He got a call that morning that the schedule waschanged due to the fact that Robert F. Kennedy had been assassinated and WalterMatthau did not feel up to filming that day. Tommy’s first thought was don’tthey realize that he and the rest of the cast and crew were just as upset as Mr.Matthau.
Tommy didn’t make a deal about it. He got to the location site to findout that they would be shooting the elopement scene in which Dolly and Ambroseare climbing the ladder up to Ermengarde’s room. This would be taking place outsidean actual three story building with him and Barbra climbing up the ladder. Genehad instructed Tommy that once he got inside and as he was pulling Barbra in,to be extremely careful. She would have some difficulty with the climb due tothe petticoats and boots. No matter what, he was not to let go. As she startedinto the window and she let out a scream. He didn’t let go. He held on tighter.She screamed again. He. Again, did not let go. Eventually, she made her wayinto the window, stormed past Tommy and the crew and ran off the set. Hethought, “Oh my God! What have I done?” Half an hour later, she returned to theset. He had broken her famous Barbra nails! They did the scene again in onetake with Tommy being more careful. A magical moment took place in Roger Eden’s Bungalow. Roger,Joyce Ames, Tommy, and Barbra, and the rehearsal pianist. Tommy and Joyce saton either side of her.Roger was musically directing them. They were working onthe Sunday Clothes.
They had workedon their scene in which they are singing together on the street. She startedsinging, taking it to a whole other level. They were all holding their musicand their laps and she started singing, “Put on your Sunday Clothes when youfeel down and out” in this obbligato honey nouveau shape coming out of her.Tommy actually saw color coming out of her mouth and into vapor like a rainbow.“She has the voice of God.” Tommy has even considered directing Dolly himself. The Weissler’s, Barry and Fran, had a wonderful idea: Hello, Dolly starring Whoopi Goldberg.
When they asked Tommy if he would do it, he said yes and saw the entire show in his head. He saw it and it was unique. They asked him to talk to Jerry Herman about this. He didn’t desire to do it on the phone. He felt that he needed to be with Jerry to sell this idea.
He thought that Jerry might think it was too radical and it wasn’t. He hates when “revisals” are done that are so far from the intent of the original creators that it ends up being a different show. Tommy's instincts once again were right on. Jerry Herman nixed the idea. One idea that I'm glad was not nixed and that is Twentieth Century-Fox's decision to cast Tommy Tune so that we do have a record of his incredible dancing preserved on film. We are all blessed that they let him out of his seven year contract so that he was able to enrich the theater world with incredible work over the years. His nine Tony Awards attest to that fact.
Tommy is also an incredible artist. I am lucky to have several of his lithographs in my home and in Danny's office. Unfortunately, Tommy lost much of his personal mementos (including letters and journals) and painting collections in the devastating Hurricane Sandy. He is a trouper and is now wowing audiences at Feinstein's. Here is the official press release:
FOR IMMEDIATERELEASE Contact: Miller Wright / Dan Fortune at (212) 977-7800
FEINSTEIN’S AT LOEWS REGENCY
PRESENTS THE NEW YORK SOLO DEBUT
OF NINE TIME TONY AWARD-WINNING BROADWAY LEGEND
TOMMY TUNE
“TAPS, TUNES, AND TALL TALES”
WITH MICHAELBIAGI AT THE PIANO
NOVEMBER18, 25, 26
“Taps, Tunes and Tall Tales” is the perfect title for Tommy Tune’s cabaret debut at Feinstein’s at Loew’s Regency, and he delivers plenty of all three. You know you’re in for an evening of savvy show business sass the minute the lights dim and he sails in singing “I’ve Got Them Feelin’ Too Good Today Blues” in a red suit the color of a tomato surprise.-Rex Reed, The New York Observer (Read Full Review)
Tall Tommy Tune, Broadway star-director-choreographer (winner of 9 Tonys) makes his entrance in his show Taps, Tunes & Tall Tales at Feinstein’s at the Loews Regency strolling through the audience singing “I’ve Got Them Feelin’ Too Good Blues.” When he reaches the stage he does indeed tap all over the small Feinstein’s stage. Because he is so tall, his red tuxedo including vest, tails, and red rose on his label, had to be custom made but it is strikingly effective. His opening night audience was sold out with major Broadway stars in attendance. Every one of his sometimes complicated lyrics was crystal clear and his physical movements were extremely animated.-Joe Regan, Jr, Times Square Chronicles(Read Full Review)
FEINSTEIN’SAT LOEWS REGENCY,the nightclub proclaimed “Best of New York” by New York Magazine and “aninvaluable New York institution” by The NewYork Post will continue its Fall 2012 season with the New York solo debut of Broadway legend TOMMYTUNE. Broadway's tallest tapper takes to the city's smallest stage,dancing, singing and tale-telling through 50 years of big time showmanship, allon only 4 square feet! "You've got to see it to believe it" –P.T. Barnum. This intimate evening – featuring Musical Director MichaelBiagi on piano – will run for four shows on three nights:November 18, 25, and 26 at the Loews Regency Hotel (540 Park Avenue at 61stStreet).TOMMY TUNE is known as one of the most prolificdirector/choreographers of the twentieth century. He has enchanted audiencesfor 50 years with his charisma, vision, and innovation. Tune has been honoredwith nine Tony Awards celebrating him as a performer, choreographer anddirector (Best Actor in a Musical for My One and Only, Best FeaturedActor in a Musical for Seesaw, Best Choreography for A Day inHollywood/A Night in the Ukraine, My One and Only, Grand Hoteland The Will Rogers Follies, and Best Direction of a Musical for Nine,Grand Hotel and The Will Rogers Follies). In addition, Tune hasbeen awarded eight Drama Desk Awards, three Astaire Awards and the Society ofDirectors and Choreographers’ George Abbott Award for Lifetime Achievement.
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His film credits include Hello, Dolly!, The BoyFriend, and Mimi Bluette…fiore delmio giardino. In 2009, Mr. Tune was designated as a Living Landmark by theNew York Landmarks Conservancy. Tune is the recipient of the National Medal Of Arts,the highest honor for artistic achievement given by the President of the United States,and he has been honored with his own star on the legendary Hollywood Walk ofFame. For the past three years Mr. Tune been touring around the country in hismusical memoir Steps In Time, A Broadway Biography in Song and Dance.FEINSTEIN’S AT LOEWS REGENCY will present TOMMYTUNE, Sundays, November 18 and 25, and Monday, November 26 at 8:00PM with an additional 10:30 PM show on Monday, November 26. All shows havea $30.00 cover with $45.00 premium seats. In addition, there is a $25.00 foodand beverage minimum. Jackets are suggested but not required. The club islocated at 540 Park Avenueat 61st Streetin New York City.For ticket reservations and club information, please call (212) 339-4095 orvisit us online at Feinsteinsatloewsregency.com and TicketWeb.com.
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| Richard Skipper,Wayne Gmitter, Peggy Herman, Tommy Tune, Franco LaCosta,Alex Reybeck at Peggy Herman's CD Release Party at Feinstein's in May 2012 (Directed by Tommy Tune) |
Thank you Tommy Tune for the gifts you have given to the world and continue to give!
With grateful XOXOXs ,
Check out my site celebrating my forthcoming book on Hello, Dolly!
I want this to be a definitive account of Hello, Dolly! If any of you reading this have appeared in any production of Dolly, I'm interested in speaking with you!
Do you have any pics to share?
If you have anything to add or share, please contact me at Richard@RichardSkipper.com.
NO COPYRIGHT INFRINGEMENT INTENDED. FOR ENTERTAINMENT PURPOSES ONLY!
Please do what YOU can to be more aware that words and actions DO HURT...but they can also heal and help!
My next blog will be...My exclusive interview with Georgia Engel on Hello, Dolly!
Thank you, to all the mentioned in this blog!
Here's to an INCREDIBLE tomorrow for ALL...with NO challenges!
TILL TOMORROW...HERE'S TO AN ARTS FILLED DAYRichard Skipper, Richard@RichardSkipper.com
This Blog is dedicated to ALL THE DOLLYS and ANYONE who has EVER had a connection with ANY of them on ANY Level!
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Georgia Engel (Minnie Faye: Carole Cook, Phyllis Diller, Ethel Merman)
To people of a certain age, Georgia Engel is the delightfulGeorgette of The Mary Tyler Moore Show. To another generation, she is Amy’s mom on Everybody Loves Raymond. Before both ofthose, there was Hello, Dolly!Already in 1969, one may have not heard the entire score of Dolly, but the title song was popular onthe radio, thanks to Louis “Satchmo” Armstrong. That song was part of thepopular consciousness. The first time Georgia heard the entire score, she wasin the show! She remembers it being happy and joyous music. When Georgia was in the University of Hawaii in 1969, theAustralian company starring Carole Cook came through. They were auditioning forMinnie Fay and Georgia happened to get the part. Gary Alexander played BarnabyTucker in that company. That’s also had Georgia got her Equity card. She wasonly in the show for its duration in Hawaii, just a few weeks. She graduatedfrom college that year as well at the age of twenty. After that, she moved toNew York. Shortly after arriving in New York, Georgia was doing a show with theEquity Library Theater. It was a production of Lend an Ear, which, of course, was the show that brought CarolChanning to Broadway. Carol came to see the show and was nice to everyone. Carolended up befriending Georgia. Years later, when Georgia was in My One and Only, as Mickey, the Mechanic, on Broadway, she was on a sixth floorwalk-up at the St. James Theater. One night after the show, she hears thatdistinctive voice. Charles Lowe was screaming to Carol not to climb thosestairs. She said, “I’ve got to go up there!” That walk was so intense that on two show days, Georgia stayed in herdressing room between shows. Carol made that climb to see Georgia to tell herthat she did a great job. When Georgia was doing Sweet Charity at Kansas City Starlight, Carol was touring thecountry in Legends with Mary Martin.When Carol and Mary came to Kansas City, Georgia went to see the show. Shecouldn’t have been sweeter to Georgia. She has always gone out of her way to beencouraging and sweet to Georgia.
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| Miss Merman's Dolly |
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Atthe time, Georgia was living at One hundred and Seventh Street and RiversideDrive, so that was very special. Georgia has never forgotten that. That was somuch better than an opening night present. Phyllis did that for EVERY member ofthe company. Georgia and Phyllis would work together a few more times over theyears. They did Cinderella together.Phyllis played the stepmother and Georgia played the Fairy Godmother. Theyloved getting in touch with each other again. Phyllis gave Georgia beautifulred necklace which she has as a remembrance. Phyllis lived such a full andbeautiful life. Many people don’t realize what a brilliant artist she was. Shewould be painting while they were on tour. The company would stay in hotels.With Phyllis, they would find homes for her to stay in with artist’s studios. Shewas also a fine musician. Georgia loved these other aspects of Phyllis’. Prior to auditioning for Dollyin Hawaii, Georgia had no previous thoughts on the show. When Dolly opened onBroadway, Georgia was in junior high school. ‘You come down the pike when you come down the pike.” When it comes toplaying a role, Georgia never puts a “spin” on the character. As a matter offact, she abhors that term. She tries to find the heart of the character.Everybody has to feel their way into a part. She found her way into MinnieFay’s heart and became Minnie Faye. OikY4ZQBMiURywSIQ~~_3.JPG.jpeg)
Georgia played Minnie Fay on Broadway for fifty-two weeks, afull year, three months with Phyllis Diller and Richard Deacon and the rest ofthe year with Miss Merman and Jack Goode. It wasn’t until several years laterthat Georgia found out that he, too, had worked with Mary Tyler Moore. When youare young and coming down the pike, you are not always aware of what wonderfulthings those that you are working with have done. She never got to know him.Miss Merman and Georgia were the only ones in that companywho never missed a performance. Georgia loved Miss Merman very much. Of course, Miss Merman had a formidablereputation. She didn’t suffer fools lightly. It was a thrill to work with her.The highest compliment came when they first started working together. There isa moment towards the end of the first act in the Dancing number in which MinnieFay dances around Dolly at the end of the number. That moment was inspired bySondra Lee when she suggested the movement to Gower in order to have a momentbetween Dolly and Minnie Fay emotionally. At that moment, Dolly and Minnie arethe last two people left on the stage. When they started working together, MissMerman would always look Georgia in the forehead. She was one of those old timeperformers who could do a really great show without looking anybody in theeyes. The magic was between them and the audience. They didn’t feel a need,perhaps it was shyness. A few months into the run, Miss Merman began to lookGeorgia in the eyes during that moment and continued to do so. Dolly hadoriginally been written for Miss Merman. In her finally agreeing to do theshow, Love, Look in my Window and World, Take Me Back, both written forMiss Merman, were reinstated.
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Georgia has had many opening and closing nights in thetheater, but nothing to rival those of Miss Merman’s! It is unheard of to havesomeone walk out on stage and get a ten minute ovation. As a young person,Georgia was aware that this was something extraordinary. People loved her somuch. She was a legend. When Georgia saw her later in her career on shows like The Love Boat, she was saddened. Hergift was what she was able to create on the Broadway stage. TV was too smalland too puny for her. She seemed too big for it. She was then out of place withthe times. TV didn’t show how magnificent she was. Georgia’s father was an Admiral in the Coast Guard and wastransferred to Governor’s Island. WhenGeorgia’s parents moved to Governor’s Island, they insisted that she move outof her cockroach infested apartment in Manhattan and move in with them.Although Georgia was ready to be on her own, she made the difficult decision totake them up on their offer. It was Christmas time and Georgia’s mother said,“Why don’t you invite Miss Merman over for Christmas Eve?” Georgia told her momthat there was no way that Miss Merman would accept. Georgia’s mom pestered herso much that she finally told her mom that she would invite her but that shewouldn’t accept. Georgia invited her and she accepted! She brought along two friends and they had awonderful Christmas eve celebration.
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| Carole Cook, Georgia, and Company in Hawaii (Courtesy Georgia) |
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| Danny Lockin |
She feels that EJ Peaker was perfectly lovely in the film.Georgia feels the film was a different animal from theBroadway show. Georgia, however, enjoyed it and loved Barbra Streisand.
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| Georgia and Carole Cook Company (Courtesy: Georgia) |
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| Georgia with Phyllis Diller Company (Courtesy PhotoFest) |
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| Georgia/Phyllis Diller Company (Photofest) |
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| Georgia and Ted Knight, Mary Tyler Moore Show |
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| Georgia/Phyllis Diller Company (Photofest) |
richer for you. Very often, directors come back and try andtake out what actors have added to their performances. It’s important to staytrue to what you are given. There is always room to bring more richness to apart. She remembers one time in Hawaii. Georgia and Gary Alexander became goodfriends. Garrett Lewis was also in that production as Cornelius Hackl.
Georgiahad a crush on Garrett Lewis. During the docket scene, when Minnie and Mrs.Molloy were looking at Barnaby and Cornelius, Minnie found herself looking atthe wrong guy.Part of the preparation of coming in for the Phyllis DillerCompany was for the cast to go see the Pearl Bailey company. Georgia got to seeit a few times and loved it. Some of the cast of the Diller Company had doneprevious productions of Dolly.
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| Georgia and Merman Cast (Photofest) |
The discipline that Georgia learned from Dolly is a discipline that she does notsee in the young people coming up in the theater today. MissMerman would go on even if she had a cold or whatever. It was NEVER in herthoughts that she wouldn’t go on. Georgia learned that discipline from MaryTyler Moore as well. Nothing would stop them. When Georgia was doing Dolly on Broadway, there were novacation weeks. Equity has since given so many wonderful perks to actors tohelp them to make them happier and healthier in long-term Broadway jobs.Georgia considers herself now one of the seniors of the “old school.” When youare young, you are very impressionable. Georgia learned so much from observingMiss Merman’s work habits. She would never think of disappointing the peoplewho came to see her.
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| Georgis/Merman Cast (Photofest) |
The worst experience for Georgia may not be the worst bysomeone else’s standards. She went one day to a friend’s home for an earlydinner between shows. She had a little bit too much to eat. She had a part inthe show where she had to jump up in the air with her back arched into the armsof dancer Sean Nolan.
It was difficult with what she had eaten to do this withany kind of grace or dignity. He laughed later about that. Sean was big strongmasculine Irish guy. He later said to Georgia that he knew something was amiss.She came towards her like a Mack truck. She was just grateful they didn’t endup in a heap. At that moment, it felt, to Georgia, like the end of the world. Sean died shortly after Dolly closed. There were many deathsfrom that company so soon after it closed. It was quite unusual, June Helmers(Irene Molloy), Danny Lockin (Barnaby Tucker), Jack Goode (HoraceVandergelder). It was spooky to Georgia as a young person. Other than seeingPearl Bailey on Broadway, Georgia has only seen three other Dollys, Ruta Lee atCasa Manana in Texas , E. Faye Butler at the Drury Lane Dinner Theater inChicago in 1991, and Carol Channing’s revival in 1977.Ruta is very beloved inTexas and has done a lot of musicals there. Georgia enjoyed Ruta’s Dolly verymuch. E. Faye and Georgia appeared in Nunsensetogether. E. Faye is much beloved in Chicago. She was a magnificent Dolly, witha magnificent voice and comic ability. Sid Smith in The Chicago Tribute wrote:
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| E. Faye Butler |
But Butler also uses asilky, girlishly restrained air for some scenes, tossing lines away and givingDolly a soft, vulnerable, lovable side. (She even does ``Love, Look in MyWindow,`` a song written especially for Ethel Merman and lost to the show eversince.) Together, she and John Beasley, as a muscular, virile Horace, turn in aslightly sexy romance, sweetly sentimental, as well as funny. Although Georgia has not seen many productions of Dolly, sheis very aware that those who are not “famous” can do a magnificent job withthis role. When a musical is well written, anyone who has the singing,movement, acting chops to do it, that larger than life quality that Dollyrequires, can be wonderful in it.
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| Ad for Original Cast Album |
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| with friend and frequent co-star, Betty White |
They doit like a Christopher Guest movie. They do more than they need and it becomesan editor’s art. With The Mary TylerMoore Show and Everybody LovesRaymond, they are both done with great precision. Since they are bothfilmed in front of an audience, just as on Broadway, the audience tells youwhere the humor should be. Even when you do a role on Broadway for a year, theaudience doesn’t always laugh at the same place. Sometimes an audience willlaugh thirty seconds after where they normally do. It’s the same in television.Once on The Mary Tyler Moore Show,something that the cast laughed at so hard during the week, the audience didn’tlaugh at where the cast expected the laugh to land. It came a few minuteslater. Georgia remembers thinking how smart it is to be on your toes and letthe audience tell you where the laughter is. As of this interview, Georgia hasdone a few episodes of Hot in Cleveland,which stars another Dolly, Betty White.
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| Georgia in The Drowsey Chaperone |
Thank you Georgia Engel for the gifts you have given to the world and continue to give!
With grateful XOXOXs ,
Check out my site celebrating my forthcoming book on Hello, Dolly!
I want this to be a definitive account of Hello, Dolly! If any of you reading this have appeared in any production of Dolly, I'm interested in speaking with you!
Do you have any pics to share?
If you have anything to add or share, please contact me at Richard@RichardSkipper.com.
NO COPYRIGHT INFRINGEMENT INTENDED. FOR ENTERTAINMENT PURPOSES ONLY!
Please do what YOU can to be more aware that words and actions DO HURT...but they can also heal and help!
My next blog will be...My exclusive interview with Alene Robertson on Hello, Dolly!
Thank you, to all the mentioned in this blog!
Here's to an INCREDIBLE tomorrow for ALL...with NO challenges!
Come here me sing Saturday night for a great cause!
BroadwayConcerts Direct
proudlypresents abenefit concert for
ZANI'S FURRY FRIENDS- a wonderful animal rescue organization
at The Laurie Beechman Theater
LOVE MAKES THE WORLD GO ROUND
AnEvening of Song to Help Our Furry Friends SAT11-24-12 7pm
(doorsopen at 6:00)
Starring (multipleTony, MAC and Bistro Award Winners): *
Dana Lorge, co-host
Sidney Myer, co-host
Celia Berk
Emily Buttner
Len Cariou (SWEENEY TODD, A LITTLE NIGHT MUSIC, BLUEBLOODS)
Edd Clark
Carole Demas (GREASE --original Sandy, THE MAGIC GARDEN)Rich FlandersJoanna Morton GarySteve HerbstSue MatsukiSarah Rice (SWEENEY TODD)*Richard SkipperJoAnn Yeoman
OTHERPERFORMERS TBA!
JoAnnYeoman, directorKathleenConry, Stage ManagerJulianaMeehan, Asst. Dir.
MarkJanas, PianoSteveSaari, PianoMatthewMartin Ward, PianoEveWeiss, Classical GuitarAmyRalske, CelloJonathanRussell, Jazz ViolinJimRussell, Recorder
*Artists subject to change without notice.
LAURIE BEECHMAN THEATERWest Bank Cafe407W 42nd Street(between9th and 10th Ave.)NYC,NY
RESERVATIONS:212.695.6909
TKTSvia OvationTix.comOvationTixby phone 866-811-4111
https://web.ovationtix.com/trs/pe/9736856
$50/ $25 cover+$15 Food and/or Beverage Min.Doorsopen 1 hour prior to show
Tktsmay also be purchased at:PETQUABroadwaybet. 98th & 99th Street, NYC, NY
cover: $50 VIP gold circle-$25 general seating / $15 food/drinkmin. not included-- they have really great food!Children are welcome.
Thisevening's cabaret extravaganza by some of Broadway and Cabaret's finestperformers will be a party mix of enchanting music, guaranteed totouch the heart and delight the spirit to help this wonderful animalrescue organization, Zanis Furry Friends, atax deductible organization, 501c3.
Thisincredible group rescues dogs, cats and bunnies right out of the euthanasiarooms of the city's animal shelters, gives them medical care, kindnessand loving attention and gets them adopted into loving homes through theirown tremendous effort and many times paid for out of their own personalpocketbooks. Wefeel it is an honor to be of some help. 100% of the money from the evening'sproceedings (cover charge, raffle, journal) will go to Zani's Furry Friends.
Pleasehelp us pack the room. Buy your tickets early through OvationTix. This willguarantee you get in. Tell your friends.
Ifyou can't come to the performance you can still make a donation www.ZanisFurryFriends.com.
TheLaurie Beechman Theatre and Phil Geoffrey Bond have generously donated the fullproceeds (100%!!!!) of the cover charge to all go to Zani's FurryFriends. (not including the food/drink charges)
A great way to feel good about the upcoming holidays! Help theunloved and the dumped, find love, safety and kindness.
Prizes!Raffles! for some great stuff! Specialtydrinks: THE MEOWTINI, THE BARKTAILand 2 non alcoholic drinks: THE ARISTOCATand THE TRAMP.
Immerseyourself in the thrilling beauty of these naturally gorgeous, powerful, warmvoices at that hot spot, The Laurie Beechman Theater at the West Bank Cafe, oneof the best of cabaret/supper club spaces. BCD concerts have beencalled "Life-affirming", "show-stopping", "LikeBabette's feast for the ear" by reviewers and audience members luckyenough to have seen our previous performances. Don't miss out on thisheartbreakingly beautiful and thrilling concert.
For moreinformation visit our web sitewww.BwayDirect.com
Seating is limited and filling up fast, so be sure to buy yourtickets early for this exciting event. At the last ZFF benefit concert we hadto turn so many people away who wanted to be there and to help support ZFF.Don't be left out.
TILL TOMORROW...HERE'S TO AN ARTS FILLED DAYRichard Skipper, Richard@RichardSkipper.com
This Blog is dedicated to ALL THE DOLLYS and ANYONE who has EVER had a connection with ANY of them on ANY Level!
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