Debra Winger and Arliss Howard - Opening day for Wolf Hall Part 1 and 2 at the Winter Garden Theatre - Arrivals. at Winter Garden Theatre, - New York City, New York, United States - Thursday 9th April 2015
Debra Winger - Shots of a variety of stars as they arrived at the Robert F Kennedy Ripple Of Hope Gala awards ceremony which were held in Manhattan, New York, United States - Tuesday 16th December 2014
Debra Winger and Arliss Howard - An opening night party was held for the play adaptation of the 1970's Swedish TV series "Scenes From a Marriage" at Phebe's Tavern and Grill in New York, New York, United States - Tuesday 23rd September 2014
It’s a bad time for the playwright David Mamet right now. His new play, The Anarchist, starring Debra Winger and Patti LuPone will close on December 16, 2012, it has been announced. The play opened at the John Golden Theatre on December 2, to largely negative reviews and the effect of those reviews means that the play will only run for its 23 previews and 17 performances, The Wrap has reported. A bitter disappointment, no doubt, for the Pulitzer Prize winning writer, who is more accustomed to being on the receiving end of endless praise, rather than such harsh criticisms as he has received for The Anarchist.
The New York Times review was particularly harsh, saying that the play “is not lurid, spark filled or even expletive laden” and Mark Kennedy of Associated Press was equally dismissive of Mamet’s efforts, writing that “The Anarchist starts in second gear and never really speeds up or slows down, just becomes wave after wave of staccato dialogue that is more pleasant on the page than spoken.” The play had originally been scheduled to run for 14 weeks until February 17, 2013 but it now looks as though the reviews have had a disastrous impact on the play’s fortunes.
To further add to Mamet’s misery, a revival of his 1984 Pulitzer-winning play Glengarry Glen Ross has been pushed back to open this Saturday (December 8, 2012) after originally being planned for November. Let’s hope Mamet’s confidence can weather the storm and we see a return to form from him soon.
David Mamet's new play The Anarchist opened at the Golden Theatre in New York City on Sunday (December 2, 2012), though the majority of critics panned the show that tells the story of two actresses playing a verbal game of cat-and-mouse.
Patti LuPone plays Cathy, a middle-aged prison inmate who got an indeterminate sentence behind bars after a deadly armored truck robbery. After 35 years in prison and a conversion to Christianity, Cathy begins to plead for clemency with the warden Ann, played by Debra Winger. The Associated Press' drama critic Mark Kennedy opened his scathing review with, "David Mamet's new play "The Anarchist" contains - shock! - not a single swear word. But some are certain to be used by theatregoers walking out after the show." Echoing the New York Times' devastating review of Guy Fieri's new restaurant, Kennedy picks apart the play piece-by-piece, saying, "Running an intermissionless 70 minutes, "The Anarchist" starts in second gear and never really speeds up or slows down, just becomes wave after wave of staccato dialogue that is more pleasant on the page than spoken." Kennedy delivers the killer blow in his final couple of lines, writing, "It fails to connect to the heart or the mind. But at least it's mercifully short. No sooner have you arrived at the theater than you are back in the street, puffing in the cold air - and maybe sending out an expletive, too."
Mamet - a revered playwright and essayist - is the winner of a Pulitzer Prize and received Tony nominations for the classic Glengarry Glen Ross (1984) and Speed-the-Plow (1988). As a screenwriter, he received Oscar nominations for The Verdict (1982) and Wag the Dog (1997).
Continue reading: Critic Pans David Mamet's The Anarchist: "Theatregoers Will Walk Out"
But something happens in Jonathan Demme's Rachel Getting Married. Hathaway plays Kym, the black sheep of an upper-middle-class Connecticut family who has left rehab in time to attend her sister Rachel's wedding. This isn't simply a case of an actress obviously playing against type, although she clearly is. Hathaway teases her studiousness out into self-centered, self-destructive prickliness; Kym is like a teacher's pet, begging to be rewarded for her self-aware (but caustic and uncomfortable) humor, and her self-serious (yet somehow pompous) parroting of Narcotics Anonymous wisdom.
Continue reading: Rachel Getting Married Review
Something good did come out of the decade: a slew of great date movies. Not surprisingly, there was a formula to it. The typical woman would get a love story usually featuring a hunky, emotionally lost male lead. The typical man would get a macho storyline featuring slapstick, sports, violence, or male bonding. Sometimes he got to see bare breasts. It all led to movies that didn't require three days of negotiation: Hoosiers, Witness, Field of Dreams, Tootsie, Say Anything (for the music geek subset), and the John Hughes stuff for the teens.
Continue reading: An Officer And A Gentleman Review
The film pays much more attention to the music (The Commodores headline, Donna Summer croons "Last Dance," which is where the Oscar understandably landed for this film, than it does to characters or story. Well, there really is no story, just a bunch of scenes of people at the club for various reasons. Two underage girls want to compete in a dance competition there. A driver has The Commodores' instruments and needs to get to the show. A white-bread couple celebrates their fifth anniversary (despite club owner Jeff Goldblum hitting on the wife). Stop me if you can fill in the rest.
Continue reading: Thank God It's Friday Review
Cuba Gooding Jr. deserves similar congratulations for his courage, not just for "playing retarded" in the titular role in Radio, but for most of what he's done since he won his own Oscar as jawboning jock Rod Tidwell in 1996's Jerry Maguire, a role in which his only devastating handicap was playing for the Arizona Cardinals. If not true fearlessness, it's hard to imagine what else can explain some of Gooding's recent script-picking decisions - Chill Factor, Instinct, Rat Race, Snow Dogs, and the execrable Boat Trip come to mind. Maybe he can't read.
Continue reading: Radio Review
Standard black-comedy stuff, then, though not without promise. Clancy doesn't have a strong directorial touch, operating only a level or two above the point-and-shoot techniques of an actual sitcom -- and a little lower when it comes to the laugh-track ready entrances and exits. But he does capture the feel -- the shabby decor, the lines of cereal boxes, the personal trepidation -- of a reluctant and unkempt family gathering. The Collins family is trapped in the family home until the funeral is over, foraging for emotional connections purely out of necessity. Whether this authenticity is achieved through close observation or a low budget is not immediately apparent; regardless, Eulogy's distaff family unit is more or less convincing -- as a whole, at least.
Continue reading: Eulogy Review