“Amy Morton is a machine. If she misses a show it’s because someone amputated her leg and she’s looking for it.”
– Anna D. Shapiro, Director of August: Osage County to Playbill radio
“Amy Morton is a machine. If she misses a show it’s because someone amputated her leg and she’s looking for it.”
– Anna D. Shapiro, Director of August: Osage County to Playbill radio
“In the 29 years since I won my last Tony [for Evita], I’ve worked with a lot of incredible people, and I wanted to thank all of them. I actually don’t even know where the old speeches are. I have to say, if I had lost this award, I would’ve been disappointed, but like with the others, I would have gotten over it. But with this part, because it’s so much better than any other part in a musical, if you lose the Tony, maybe you feel like you just didn’t do a good job or people don’t like you.”
– Patti LuPone to theatremania.com on winning Sunday night
“By the way, Mandy looks like the lead cantor from B’nai Venuto. I expected him to have five commandments in each arm.”
– Larry Gelbart, on Mandy Patinkin’s appearance on the Tony Awards
BEST ACTRESS IN A PLAY
The race is between two tigers: Deanna Dunagan, the bitchy mother in “August,” and Amy Morton, her equally bitchy daughter. I give the edge to Dunagan, though a tie is possible.
If Morton pulls off an upset, I bet she leans over to Dunagan and hisses: “I told you to eat that f – – – ing fish, bitch.”
– Michael Riedel, that vociferously read and reviled NY Post columnist, making his Tony picks
From Liz Smith’s gossip columnin today’s NY Post:
IN HIS review of “Gypsy” on Broadway, the Times critic Ben Brantley noted that the star Patti LuPone had gotten her role down so brilliantly that “she had made me eat my hat.” Previously, he’d given her a lukewarm review.
Indeed, after he saw Patti blow the audience away at the St. James Theatre, Brantley gave her the rave she deserved. The next day she sent him a chocolate cowboy hat in a deluxe hat box, with the note, “I hope you’re laughing.”
Herbert Greene: “The only one to play this Harold Hill part is Ethel Merman.”
Meredith Willson: “And if you think she couldn’t, you’re crazy.”
Greene and Willson on casting The Music Man. Quoted in a great article on Willson by Peter Filichia.
“Yet surely, Miss Andrews, you have some vices? “Oh, God!” she whoops. “I’m great at Anglo-Saxon four-letter words.” And she launches into a story about the last day on the “Mary Poppins” shoot, when she was hanging about, high up in the soundstage on a wire, when all of a sudden, she felt herself drop. “I hit the stage, like you don’t believe—I could have broken my leg!—and I did let fly with some Anglo-Saxon words that I don’t think the Disney studio had heard before or since.” The F word, for one. And this reporter actually heard her utter the S word. Mary Poppins would wash her mouth out with soap.
Julie Andrews, Newsweek
“I love it! I love it! I love this business. I wouldn’t do – look, I can’t I don’t, know how to do nothin’ else, but if I did, I wouldn’t change this for anything in the world. Whoo. I mean, you don’t know. You-you don’t know, but there is something that goes on between us, I must tell you. When you get home into the quiet of your wherever, think about what you are doing for me. You’re sending in – it’s a- it’s, it’s tangible, I can feel it. I can hear it, even when you’re quiet. It may just be pockets around here that don’t even like it, but what you sendin’ in is so positive that I’m workin’ with it, you know! I’m using it! Really, it’s fantastic. I not – I not only am – exist on you and really, when I’m out here, I don’t give a damn about anything that’s going on outside…”
Lena Horne, The Lady and Her Music
One of the finest solo Broadway efforts in history. Be sure to give it a try.
“I actually think, after doing Cat on a Hot Tin Roof and then Virginia Woolf, that part of my mission in life is to correct Elizabeth Taylor’s performances.”
Kathleen Turner, NY Magazine