Author: Chris Van Patten

The Longest Feud in Hollywood History Continues…

Sisters Olivia de Havilland (the last surviving star of Gone With the Wind) and Joan Fontaine (Suspicion) are both Oscar-winning actresses, legends of the golden era of Hollywood. However, they have been feuding since either can remember. But even now, with both in their 90s, they will not reconcile; apparently they haven’t spoken to each other since 1975. Sounds like a Hatfield-McCoy situation. Here’s an interesting article that shows that time doesn’t heal all wounds…

Sibling Rivalry: Hollywood’s Oldest Feud

For what it’s worth, I’ve always enjoyed de Havilland more than Fontaine.

Discuss.

So What’s All the Fuss?

That was the name of a reply thread to Terry019’s enthusiastic post about beloved PR in 1600.

Here’s my reply:

Though “Take Care of This House” was the breakaway song from the short-lived “1600 Pennsylvania Avenue,” the “Duet for One (The First Lady of the Land)” creates what is arguably the most memorable onstage moment in the piece.

Routledge, who was playing all successive first ladies in the show, is given the task of portraying both the outgoing Julia Grant and incoming Lucy Hayes in the same scene, each soliloquizing during the Hayes inauguration; sharing their thoughts on the election results and insulting the other. Routledge accomplished this with a trick wig that she would literally flip; with an immediate change in voice and character to delineate between the two. Routledge started off the number as Mrs. Grant, introduced us to Mrs. Hayes, then in a fit of schizophrenic delight, juxtaposed between the earthier beltier Grant and the haughtier treacly-sweet soprano of Hayes. Again, all with the flip of a wig.

The musical number is the most challenging soprano showcase Bernstein had written since “Glitter and Be Gay”, a ten minute mini-opera in which Routledge utilized three octaves of her vocal range, which builds to a coloratura climax capped with a D above C. The audience response was overwhelming, as evidenced by Terry and many, many others fortunate enough to be in attendance. (Ken Mandelbaum in ‘Not Since Carrie’ calls it “one of the most brilliant and least known showstoppers in musical-theatre history”). Routledge, with her impeccable comic timing and glorious voice created an unforgettable tour de force that completely drove the audience wild.

As I wrote below, the individual attending “A White House Cantata” a few weeks ago commented on the “Duet for One” during the talkback. He said, and Routledge’s understudy Beth Fowler agreed, that the ovation for the number was unlike any they had ever seen before; the audience would not let the show continue until Routledge gave them an encore. And she did.Unfortunately, there was no official cast album recorded (the endlessly troubled show has enough of a fascinating history it could use its own book), but Judy Kaye performed the song on John McGlinn’s “Broadway Showstoppers” CD and June Anderson recorded it for “A White House Cantata.”

While I understand that there are many numbers on the boards today which one would consider a showstopper, the sort of ovation that “Duet for One” received (and still receives from those who remember fondly the thrill of that number) is one of considerable uniqueness and rarity, that just doesn’t come around too often.

Best,
~Kev

Hell, I figure I give this lecture so much, I should take it on the road like Hal Holbrook on Mark Twain.

Some Random Movies I Love

I have a touch of the OCD (and don’t we all?) and was going through my DVD collection, which at this writing is I think 809 and counting. Yes. That’s a lot. But my brother, who is a filmmaker and he should know, always insisted that a good film library is key to any true cinema aficionado. Okay, he didn’t say it quite like that, it’s my spin. But you get the gist.

Anyway, getting things in order I realize I always want people to see the movies I have and to enjoy them. So I figured why not recommend some here. It’s not my “greatest movies of all time” AFI pretentious bullshit sort of list. I kinda went randomly through and just jotted them down.

The Third Man (1949) – Okay, I had to put this one first to get it out of the way, because when I am pegged to name my favorite movie of all time, this is it. I’ve loved it and admired it since the first time I saw it. Joseph Cotten was never better. Carol Reed’s direction is among the best in film history, as well as his use of post-war Vienna as something noirish and sinister. And as always there’s the cuckoo clock monologue. And the jaunty and bizarre zither score.

Don’t Look Now (1973) – Julie Christie and Donald Sutherland are parents in Venice mourning the accidental drowning of their daughter. Directed by Nicolas Roeg, it’s symbolism is fierce and its suspenseful build starts out deliberately paced, but by the last twenty minutes of the shocking climax, it’s overwhelming. Detailed, nuanced and with one of the most famous love scenes in film history (which, really folks, is more beautiful and heart-breaking than ironic). Add a bizarre priest, a blind psychic and her sister, a series of murders and a Venice that is frighteningly sinister and unwelcoming and you’ve got one of the most impressionable horror films of the ’70s.

His Girl Friday (1940) – Cary Grant and Rosalind Russell star in the fast-paced, rapid fire remake of The Front Page (only with a gender-bend that improves upon the original) about a snake-oil salesman of an editor who is trying to keep his ex-wife and former star-reporter from getting remarried (but all the while landing the story of a convict being executed for political motivations). Satiric, screwball and brisk, its one of the most rewatchable comedies of the screwball era. I can never not watch it if it is on TV and will pop it in when I need a pick-me-up.

The Lion in Winter (1968) – I love Katharine Hepburn. I love Peter O’Toole. And together, they create one of the most riveting period dramas of all time in this adaptation of James Goldman’s play about Henry II and Eleanor of Aquitaine’s war over who will inherit the throne of England. Hepburn tied for the Oscar, in what I think is my second favorite performance of hers (trumped only by her spellbinding work in The Lion in Winter). Anthony Hopkins, Timothy Dalton and John Castle provide ample support.

Howards End (1992) – I’m a stickler for period films. Especially British costume period films. Merchant-Ivory’s adaptation of Forster’s novel is one of the most superb adaptations of a literary work to screen. Emma Thompson, one of my favorite actresses, won the Best Actress Oscar heading the cast which includes a headstrong Helena Bonham Carter, a staid Anthony Hopkins and a resplendent Vanessa Redgrave. Such attention is paid to detail and nuance in every facet.

The Remains of the Day (1993) – Consider it a double-bill. I love both movies so much, I’ve never been able to decide if I prefer one over the other. Made immediately following Howards End and it’s enormous success, Merchant-Ivory teamed once again with Emma and Anthony, this time taking us to the rural manse of a nobleman who is a Nazi-sympathizer working towards appeasement with the Germans prior to WWII. However, the heart of the story is the repressed and unspoken love between the housekeeper and butler (the latter being so good at his job, he fails to convey his feelings); with quietly devastating results. Damn, I love these two.

The Manchurian Candidate (1962) – A chilling satire on American politics and the Cold War scare (suggesting that the extreme of both the left and right become the same thing). Sinatra, Laurence Harvey and Janet Leigh star in this tale of brainwashing, Communist intrigue and assassination. The film becomes legendary as a result of Angela Lansbury’s scene-stealing supporting turn as Mrs. Iselin, one of the most memorable characters ever presented on film and a marvel of screen-acting from Lansbury, who should have won the Oscar for her performance, the best of her career. Forget the bland, insipid and totally unnecessary remake with Meryl Streep and Denzel Washington.

All About Eve (1950) – The greatest movie ever made about the theater. Even now, the dialogue crackles with caustic wit and the story remains timely. Bette Davis as Margo Channing. That’s about as iconic as you can get. Such perfect support from Anne Baxter, Celeste Holm, an Oscar-winning George Sanders and the always-dependable Thelma Ritter in one of her no-nonsense, down-to-earth roles. Davis has one of the best exit lines I’ve ever seen in a movie. I just picked up the recently released 2-disc special edition with a newly restored print. I’ll be writing about that when I get the chance to take a look.

Has anyone ever seen a real showstopper?

Terry019 opened up this thread on All That Chat today and I had to share:

“Has anyone ever seen a real literal show-stopper? The only one I’ve seen in many years of going to the theater was the very short-lived “1600 Pennsylvania Ave”. It followed a number performed by Patricia Rutledge where she sung at once as both Lucy Hayes and Julia Grant. She then exited (her scene finished)and the actors assembled for the next scene. The audience however would not stop screaming and applauding. They tried to continue the show but the audience would have none of it. Finally, Ms. Rutledge returned, in a robe since she had obviously changed out of their costume and received the audience’s adulation. It was only then that the show continued. That was a REAL show-stopper. Anyone else have an experience like that?”

As much as I love hearing about my favorite show-stopper, alas I wasn’t alive to see it. In my theatre-going experiences, I have seen numbers stop the show, in varying ways, sometimes that extra burst of applause that keeps the praise going just a little longer than usual to the audience out of their seats going nuts sort of deal. Or sometimes, a great star appears onstage and that in itself is cause for the audience to erupt in an overwhelming display of vocal affection. The first memorable experience with a showstopping moment was the day my life changed forever. That was May 30, 2004 at the Shubert Theatre, where Bernadette Peters was playing her final performance in the Gypsy revival. Sondheim got entrance applause during the overture as he ducked into his seat. The overture got a standing ovation – and that itself should have warned for the Vesuvius to come minutes later. People were anticipating the moment. And there she was, in the back of the house shouting out “Sing out…” I didn’t hear the Louise. I don’t think anyone did. People rose as she walked down the aisle of the theatre, with the same reverence one would give at a commencement or wedding. Except we were loud, and there was no stopping us. They finished the scene and Bernadette had to wait until we were ready to let her go on. And that boys and girls was the first time I saw a show legitimately stopped. There were several other moments that very day, especially the “Turn.” Now, the theatregoing experience remains ranked high on my list of events, but it was because of that show I met Noah, and indirectly how I met Sarah, two of the great theatregoers whom I admire and respect greatly. Let’s face it, if it weren’t for BP, I wouldn’t be typing this blog at this very minute, because Sarah and Noah would never have convinced me to do it. So for that, one must be grateful to the kewpie-diva supreme.

Others that followed, Hugh Jackman’s “Once Before I Go” in The Boy From Oz, “La Cage Aux Folles” and “I Am What I Am” in the revival of La Cage Aux Folles. Brian Stokes Mitchell’s “This Nearly Was Mine” at the Carnegie Hall South Pacific (what you’ve seen on TV and heard on record is cut down considerably from the lengthy ovation he received that night). At the closing performance o The Light in the Piazza, several numbers got extended applause including “Statues and Stories,” “Il Mondo Era Vuoto,” and “Dividing Day” (with an emphasis on the latter). Christine Ebersole’s entrance as Little Edie at the top of Act Two in Grey Gardens brought about an immediate standing ovation until Ebersole’s hands-on-hips pose broke and she covered her mouth from the emotional response she had. When it died down, someone shouted out “We love you” and completely as Little Edie, she countered with heartfelt “Oh – and I love all of you too.” and immediately continued into “The Revolutionary Costume for Today.” Audra’s “Raunchy” at a Saturday matinee of 110 in the Shade brought the proceedings to a screeching halt; “Totally Fucked” at Spring Awakening; and it goes without saying Patti LuPone as Rose last summer at the City Center and on her opening night at the St. James had a couple of showstopping moments, including the “Turn.” Paulo Szot’s “This Nearly Was Mine” on the opening night of South Pacific. Juan Diego Florez’s “Pour mon ame” from La Fille du Regiment; Emily Pulley’s “Duet for One (The First Lady of the Land)” at A White House Cantata. And most recently, Beth Leavel’s “Where-Has-My-Hubby-Gone Blues” at Encores! No, No, Nanette.
The only time I’ve seen that sort of reaction at a play was the opening night of August: Osage County after the second act button. The roaring of approval from the audience continued after the house lights had come up after intermission. I’ve never had that experience at a drama before, and doubt there are many plays that offer a moment of such adrenalized electricity.

What are yours, folks?

"Little Boxes"

I finished watching the third season of Weeds on demand tonight and damn that was some season finale. I picked up the first season of the show on DVD when it, as many of my television ventures are, ridiculously discounted in some retail chain around town. I think it $15. Not bad for a Showtime series. Anyway, I’ll never forget: I was just going to pop in and watch the pilot. I ended up watching the entire first disc, as it would turn out, was also half the season. I was immediately engrossed with  Nancy Botwin in her conflicting roles as widowed suburban soccer mom and drug dealer. I was also immediately taken by the brilliant Elizabeth Perkins as her frenemy Celia Hodes, in one of the most captivating characterizations I’ve ever seen on any television show, period. (Someone give this woman an Emmy, dammit!) Add to that Kevin Nealon as a pothead accountant, Justin Kirk as Nancy’s ne’er-do-well brother-in-law, Romany Malco as Conrad, Nancy’s supplier and you’ve got a top-notch cast. And no, I haven’t forgotten Mary Louise Parker, who shoulders the series as Nancy, endlessly naive in the world of drug-dealing, constantly getting in and out of scrapes, shuffling between motherly duties, grieving the sudden and unexpected loss of her husband, all the while setting up shop in town in an attempt to maintain her extravagant lifestyle in suburban Agrestic, CA. Parker, who is one of my favorite actresses on the planet, is a total MILF. There. It’s been established. She just is. An incredible hot, flirtatious mom, constantly appeasing her caffeine addiction, slurping through a straw with those seemingly innocent eyes. And that works entirely to her advantage on the series, which shows her barely hanging on by a thread in her ever-uncertain world. Chaos is the norm. The satire is potent, especially as established through the opening credit montage and the use of the great Malvina Reynolds‘ classic “Little Boxes” as the show’s theme song. And never once does it seem to cross Nancy Botwin’s mind to downgrade to a more affordable lifestyle. Oh we class-conscious Americans with our pre-fabricated homes and committees and lattes and hybrids.

This was prior to the DVD release of the second season, so I took to youtube to catch up on season 2, which took less than a week. And now, with the arrival of Showtime in my house, I can finally catch up on what I missed of the third season. And oh boy, was it something else. I cannot wait until June 16 when the fourth season starts up. I caught a preview in passing and it looks to be something good, particularly with all the questions that have been raised in the most recent episode (which in many ways plays like a series finale). The writing is as sharp and incisive as ever, the acting stellar. The show remains one of the best currently offered on TV today.

I still have a couple seasons of Six Feet Under to go. Plus Lost and I have yet to catch up on the season finale of The Office. So much viewing. So little time in which to view.

“And they’re all made out of ticky-tacky
And they all look just the same…”

"Hellloooo, I’m Julie Andrews"

From Army Archerd:

Julie is also starting rehearsals for her spectacular program heading to the Hollywood Bowl July 18-19. The first half of the program boasts Rodgers and Hammerstein selections from “Cinderella,” “The Sound of Music” and “The King And I” — with Julie singing selected numbers in her carefully-limited range. The second half of the program features Julie hosting/narrating “Simeon’s Gift,” also written with daughter Emma, featuring a cast of five, music by Ian Fraser, the lyrics of John Bucchino and Harold Wheeler’s charts for the 82-piece Hollywood Bowl orchestra. The show will premiere in Louisville on July 11 before moving on to Atlanta in Philadelphia in August. Of course, these are only a few of the projects propelled by the inimitable Julie Andrews.

(The title of this post comes from the PBS documentary Broadway: The American Musical, which Andrews hosted. For many years in college I acted as a teaching assistant for my musical theatre professor and he would often use this six-part documentary as a supplement to his lectures, often to give names and faces to the people in discussion. The first time he popped in disc one each semester, it automatically started to play Andrews’ introduction. And each and every time, without fail, the classroom would fall completely to pieces).

"Thanks a Lot, But No Thanks"

It’s Always Fair Weather is one of the fascinating MGM musicals that gets lost in the shuffle of On the Town or Singin’ in the Rain, et al. Made in 1955, toward the end of the peak of the Freed unit, the film was originally rumored to be a sequel to On the Town, when that proved impossible, it became more of a loose follow-up where three WWII buddies reunite ten years after the end of the war, only to discover that they have very little in common anymore. The film, surprisingly cynical and dark-edged for a musical, stars Gene Kelly, Cyd Charisse (who has a fantastic dance number set in a boxing ring), Dan Dailey, Michael Kidd and Dolores Gray.

Gray was a musical comedy star, winnings raves for the original London production of Annie Get Your Gun and on Broadway in Two on the Aisle and the flop Carnival in Flanders, which netted her the Tony award and the record for shortest Tony-winning run (the show closed after six performances in 1954). The following year, she would find herself under contract to MGM, where she made this and also the film adaptation of Kismet as the seductress Lalume. Her tenure as a major supporting player would end a couple years later after two more films: The Opposite Sex, a semi-musical remake of The Women and in the highly-underrated Designing Woman, a comedy starring Lauren Bacall and Gregory Peck (and featuring choreographer Jack Cole in a supporting role). Gray would soon return to Broadway in Destry Rides Again with Andy Griffith, and focus the remainder of her career on stage and concert work (including the flop Sherry! and the original London cast of Follies).

Playing a shameless television star, who is also an incredible self-promoter, this is her big number from the film, done as part of her live TV event. I first became aware of the song when I heard Audra McDonald sing it in her New Year’s Eve Live from Lincoln Center concert. The music’s by Andre Previn with lyrics by Comden and Green. Enjoy.