Category Archives: Theater

Kevin Winkler’s “On Bette Midler: An Opinionated Guide” is a Best Bette

Kevin Winkler is not a fan of Bette Midler. He is obsessed with her, ever since “the first time I saw her on The Tonight Show when I was in high school.” Then, after reading a few entries in Oxford University Press’ series of Opinionated Guides, which are deep dives into the creative accomplishments of major pop culture figures such as Stephen Sondheim, Barbra Streisand and Marilyn Monroe, he felt that “this format would be ideal for delving into Midler’s work as a multi-platform artist,” explains Winkler. “There’s been surprisingly little investigation of her creative life, and since I knew her work so intimately I thought, why don’t I write this book?”
And so he did. The slim volume title On Bette Mider: An Opinionated Guide ($29.99) “is not a standard biography,” Winkler says, “but a critical analysis of Midler’s creative output written by someone who has been there from nearly the beginning of Midler’s career and followed it with love and dedication for over half a century.”
Consider the book a best Bette. We spent a few minutes with Winkler, speaking about his Big O. Such Divine inspiration!

Bette-midler-continental-bathsx390_0

After the book was finished, did you come away even more obsessed?
I came away with a deeper appreciation for the path Midler has taken as an artist, one who has made her own particular brand of art within the strictures of commercial theater, film, television and recordings.  It wasn’t always easy, and inevitably compromises impacted some of her work.  But I came away with a renewed respect for the boundaries she pushed, the battles she fought, and of course, all the great performances she gave us across  media.

What did you learn about Midler—something you never knew?
I enjoyed digging into the media coverage of Midler’s early days, particularly as she was becoming well-known following her performances at the Continental Baths.  [See footage below.] The extent to which she was perceived in some circles as just the latest flash in the pan really surprised me.  And of course, she proved all those skeptics wrong!

What did you not include in the book and why?
I pretty much included everything I wanted in the book.  I focused on four key areas of Midler’s art:  her theater, her films, her TV appearances and her recordings.  Her performances have been touchstones throughout my life.  I went pretty deep in discussing her work in each of these areas, placing her accomplishments in the context of the time periods in which they were made.  As I said, it’s not a biography, so I didn’t discuss her personal life in any significant way.

On Bette Midler: An Opinionated Guide

Did you contact Midler about the book? What did she say?
The key to the book’s tone and content is its subtitle:  An Opinionated Guide.  It’s not a standard biography but a critical analysis of Midler’s creative output.  I didn’t want to speak to the book’s subject or to anyone who knew or had ever worked with her, which would have colored my opinion.  As I say in the introduction, it’s not just opinionated, it’s highly opinionated, written by someone who has been there from nearly the beginning of Midler’s career and followed it with love and dedication for over half a century.  However, we did send Midler an advance copy of the book.  I hope she likes it!

Arthur Lyons Palm Springs Film Noir Festival Celebrates 25 Shadowy Years

There’s no shadow of a doubt that Palm Springs will soon be swarming with damsels in distress, gregarious gangsters, diminutive dicks, lascivious ladies and odoriferous oddballs.
Welcome to the 25th Annual Palm Springs  Film Noir Festival, officially known as the Arthur Lyons Film Noir Festival.
The festival runs May 9-12 at the Palm Springs Cultural Center,  where 12 films will be screened all for the first time, along with a small handful of special guest appearances.  It takes about a half a year to pull together this excursion into shadowy cinema. The festival was founded in 2000 by noir enthusiast and film historian Arthur Lyons; when he died in 2008, the festival was renamed in his honor.
“I’ve always defined ‘noir’ as films that treat light and shadow like characters,” explains Eric Smith, General Manager of the Palm Springs Cultural Center at The Historic Camelot Theatre.
2024 Arthur Lyons Film Noir Festival
Opening night’s film is Body and Soul, the 1947 gem starring John Garfield and Lilli Palmer (below), Anne Revere and Canada Lee.  The flick is described as “the undisputed champion of boxing movies” [that] “depicts the seamy world of the so-called ‘sweet science’ as an unforgettable metaphor for loss and redemption.” Scheduled special guest is actor/writer Jim Beaver, who also wrote a biography of Garfield.
All access pass holders and special guests are invited to the opening night reception. Expect to see the wild and wooly: One patron likes dressing as Mickey Spillane; one year the celebratory cake featured an inside filling resembling blood. More food for thought: The center’s cafe has been renamed Mildred’s, as in Mildred Pierce.
None of the films shown since 2001 have been repeated, not an easy task since films are always undergoing restoration and being pulled from circulation. This is one of the reasons the festival has been successful every year;  Smith says that the festival has continually made money. He’s proud to admit that 29% of attendees are repeat customers.
Body and Soul (1947)
Why has the festival lasted a quarter of a century?
“There’s nothing better than sitting together in a  dark theater with like-minded people watching rare, lost and rarely-seen films,”  explains Smith. “These films are black-and-white classics. And they’re never seen on Netflix.”

For a complete schedule of films and screening times, visit arthurlyonsfilmnoir.org/schedule

TICKETS
Tickets can be purchased at the Cultural Center’s box office (2300 East Baristo Road, Palm Springs, CA) or in advance at eventbrite.com/e/2024-arthur-lyons-film-noir-festival-tickets-849709693567?aff=oddtdtcreator

Charles Busch’s “Leading Lady: A Memoir of a Most Unusual Boy” is a Delicious Romp

Charles Busch is not the boy next door.

He’s not the girl next door either.

What he is is a legendary drag performer who has proven throughout the decades that he is a damn good writer… think Vampire Lesbians of Sodom, The Lady in Question, Red Square on Sunset, Psycho Beach Party, Die Mommie Die!

Now Busch has unleased Leading Lady: A Memoir of a Most Unusual Boy (Smart Pop Books, $27.95), an autobiography that’s fast and furious and funny, funny, funny and at times, sad, but not as sad as you will be when you’re on the last page.

The LGBTG+ icon takes us from Hartsdale, New York (with references to dead celebrity-studded Ferncliff, Westchester County’s take on Forest Lawn) to losing his mother to a damaged heart before he turned eight to his love of theatre (given to him by his father, a failed opera singer) to losing his virginity at sixteen  to his colorful, outlandish friends and family members (including sisters Betsy and Margaret) to the onslaught of AIDS to being nominated for a Tony for The Tale of the Allergist’s Wife to his near-death experience to . . . well, you get the idea.

Busch is a rambunctious raconteur. There are no chapters, but dozens of short tantalizing time capsules. The book is a magnificent mosaic, crammed with so many delicious anecdotes that blindingly shine and rival any cubic zirconia jewel Joan Rivers sold during her QVC career. The gems will have you laughing and crying, though the emphasis is on laughing. The stories are sassy (this is where Claudette Colbert and Kim Novak come in); sinful (this is where Esther Williams and Michele Lee come in); sentimental (this is where Carol Channing and Stephen Sondheim come in) and (bitter)sweet (this is where Liza Minnelli and Valerie Harper come in).

Leading Lady is not the lugubrious diary of some displaced cross dresser who longs to tackle RuPaul; it’s the best (read: candid, honest) autobiography since Joan Rivers’ Enter Talking. Joan pops up several times, beginning on page one. “Joan was the most prominent in a long line of smart, bigger-than-life mother figures I’ve attached myself to,” he writes. “All my life I’ve been in search for a maternal woman whose lap I could rest my head on.”

His life was guided, perhaps sometimes misguided, by his mother’s oldest sister, Aunt Lil Blum, who Busch saw as an Auntie Mame and whose ritzy Park Avenue apartment is where he lived as a teen. Aunt Lil had faith in her nephew since Day One and began taking him to Broadway shows when he was nine years old. “Some, like the talky and sexually explicit John Osborne British drama Inadmissible Evidence, were a bit of an intellectual stretch for a third grader, but Aunt Lil never explained anything to me. There was the assumption that I’d either figure it out or let it pass over my head,” he writes.

Busch cannot remember not wanting to be on stage. “I was desperate to be a child star, but my ambitions were always foiled,” he writes. He recalls auditioning for a Yonkers, New York community theater production of Oliver! — losing the role after five auditions. “In the end, they cast some dreadful butch child without a shred of sensitivity.”

It was Aunt Lil who sent Busch to acting school on Saturdays; he recalls the very first lesson. “The teacher taught us how to make an entrance down a staircase wearing a gown with a long train without ever looking down at our feet—a skill that has proved invaluable in my career in the theater.” Ironically, Aunt Lil never saw Busch on stage in drag. “I’d be worried that the audience might not like you or be unkind,” he recalls she told him.

Aunt Lil supported him when Busch needed the money; before fame hit, part-time jobs usually didn’t work out. Busch acknowledges that in so many ways that she was the one who nourished his dreams, especially before he discovered his gift for writing plays and making a living as a male actress.

Busch witnessed Aunt Lil’s decline for eight years. Her death crumbled him. “Entering the hospital room . . . I climbed onto the bed, snuggling next to her, and buried my face in her long beautiful grey hair,” he writes. “Thank you. Thank you. Thank you. Thank you. . . I had so much to thank her for. She had saved my life. She made everything possible. . . . Everything leads me to Aunt Lil.”

The end of Aunt Lil, but not the end of Leading Lady. Even with all the sissified innuendos and campy asides, the book ends up centering around love: love of theatre, of film, of family, of friends and ultimately love of oneself.  To give away much more is to give away the heart and soul of the book. Read it, wander off to the 24 pages of (mostly) color photos, then roam back into Busch’s valentine of memories and magic, vim and vitality.

Here’s Lucie! Lucie Arnaz on her one-woman show, gay icons, Michael Bennett and, of course, her mom

Lucie Arnaz can precisely remember the moment she wanted to be in show business. It had nothing to do with her mom, Lucille Ball, stomping around in a huge vat of grapes.  It had nothing to do with watching her dad, Desi Arnaz, bang out “Babalu on the bongos. It had to do with loving another lady: Mame. It was in 1966 and Lucie, then 15 and in New York City, caught Angela Lansbury in the Jerry Herman musical.
“I remember watching Angela having all this fun, getting to sing all these great songs and dance all these wonderful numbers,” Lucie recalls. “I thought, ‘That’s it! That’s what I’m going to do with my life. I’m going to sing and dance!’”
And she did. And then some.
Her career began with occasional appearances on her mother’s’ 60s  TV series The Lucy Show; Lucie was also a regular (along with her brother Desi Jr.) on Ball’s third series, Here’s Lucy. Regional tours followed; in 1979, Lucie won awards and accolades for her splashy Broadway debut in They’re Playing Our Song. On the day she left the show, Lucie flew to Los Angeles to begin work on the 1980 musical remake of The Jazz Singer starring Neil Diamond and Sir Laurence OIivier.
Other stage and screen work followed. In 1993,  Lucie produced the small-screen documentary Lucy and Desi: A Home Movie, for which she won an Emmy. In 2000, she starred in the London musical The Witches of Eastwick.  Since then, her resume has bulged and broken its seams. There were TV appearances (including the highly-regarded guest starring role in the 2003 episode of Law & Order, Bitch); the CD Latin Roots, the 2010 homage to her father; and various Broadway and national tours, including the 2014 revival of Pippin, in which Lucie jaw-droppingly performed on a trapeze .
All this while maintaining a life with actor Laurence Luckinbill, 16 years her senior, to whom she has been married since June 1980. (The couple have five children.) During the COVID self-isolation years, Lucie edited her husband’s recently released autobiography Effective Memories: How Chance  and the Theatre Saved My Life (Sunbury Press, $34.95). She learned to cut her own hair; chronicled the growing years of her grandchildren; dabbled with Facebook and listened to “lots” of audible books.
This month, Lucie returns to New York City with I Got the Job! Songs From My Musical Past.  On July 16, 2023, a day after her 73rd birthday, Lucie returns to Below 54 for five nights of proving life is a cabaret, accompanied by her good friend, musical director/pianist Ron Abel.  Call 646.476.3551 for reservations.
Here, Lucie proves she’s still on the ball as she chats about her one-woman show, her new hairdo, imitating Cher, working with Sir Laurence Olivier and Michael Bennett, and gay icons.
Before we go into any hair-raising topics, let’s chat about your gorgeous hair! It’s snow white!
This is my COVID cut and color do. What can I say? I couldn’t go anywhere to get it cut or colored, so when the roots got too long, I cut it all off down to the nubbies. I wore a hat for a few weeks and  thought , ‘Let me see what I look like.’ I’ve been able to cut it myself, and for two years, I have kept it cropped.  It’s white, my dad’s color, but sometimes it shocks me in the morning because I expect a brunette to pop up.  But I like it a lot.  It looks cute, doesn’t it?

Lucie now and with her mom, then

Tease us a bit about I Got the Job! 
This is the first show I’ve done that has a theme. I talk about what I learned from working with people. I remember mistakes I made. I sing songs— whether I sang them or someone else did—and tell stories from my musical theater career.  I’ve been indeed fortunate to have the opportunity being in shows written by some great composers.

One reviewer said you sound like a meld of Liza Minnelli and Barbra Streisand and a shot of Eydie Gorme. What think?
Oh my God! Kill me now! I’m so happy l’ll never have to sing again! It never occurs to me to sound like anybody else. With Liza, it must have to do with energy and tone and song interpretation. I certainly don’t sing like Streisand. I don’t have her notes at all. Maybe there’s a nasal quality. And Eydie! I love her. She and Rosemary Clooney are the kind of singers I listen to.

Speaking of Cher . . . you did a smash-on imitation of her (with Frankie Avalon doing Sonny) singing “I Got You Babe” on Here’s Lucy. Was that fun?
Oh yes! The writers knew Frankie could do Sonny and figured I could do Cher. We went to see Sonny and Cher doing their show to get some ideas. We watched the show and Cher—who I did not know—said, ‘C’mon to my dressing room.’ She asked, ‘Do you have a wig?’ I told her I did, but she handed me one and said, ‘Here, take this. It’s mine and it’s better.’ She also gave me the pair of earrings I wear. Everything that was Cher she gave me. I loved her for doing that. And I loved doing that song. It’s a favorite.

Frankie Avalon as Sonny and Lucie as Cher on “Here’s Lucy”

Any recollections of working with Sir Laurence Olivier on The Jazz Singer?
He was so ill making the movie. His cancer was not in remission and he was in terrible pain. He was always sitting in his dressing room with his head in his hands. When he heard his call—‘Sir Larry, we’re ready for you’—he’d get right up and get to the set.  I had only one scene with him, about two words. I would look at the call sheet to find out whenever he was going to be working and I’d make sure I was also on the set, watching his work. [Pauses] I think the film is underrated. The critics didn’t like it. It was as if they were thinking, ‘You’re Sir Laurence Olivier. How dare you be in a movie with a singer who can’t act [Neil Diamond].’ So they cut him and the film down a few notches.

A vintage 1980 promo ad for “The Jazz Singer”

What was it like working with Michael Bennett on Seesaw?
I was the luckiest girl on the planet.  I got my first legit equity tour working with him and Tommy Tune. He had a tough reputation and he wasn’t diplomatic.  If he didn’t like something he would hurt my feelings and make me cry all night long. We’d come in the next morning and fix what was wrong. It was usually a simple fix. And I’d think, ‘Michael, couldn’t you have been more tactful so I could have gotten some sleep?’ He was a complicated little character. One day he invited me to his apartment, made dinner and said, ‘You could be one of the great ladies of the American theater if you take it seriously.’ So I did exactly what he told me to do: I moved to New York, took acting classes with Herbert Berghof and made people know I was serious about my career. [Laughs] That changed my life. If I didn’t listen to Michael, I would have gotten back into a TV series  . . . and been much wealthier than I am today!

Michael Bennett and Lucie Arnaz

Let’s talk about your creepiest role . . . Elizabeth Short.
Oh, The Black Dahlia. I was surprised I got the role because I hardly had any credits. A friend took me to [executive producer] Doug Cramer who had newspaper clippings of her death on his desk. He took a look at them and me and said, ‘Oh my God! You look just like her!’ I think that’s why I got the role.  It was a great film to make; the movie had lots of famous, amazing cameos. Mercedes McCambridge played my grandmother. But everything was so fast. I was asked to choose between two black stretch wigs and two black dresses and we began filming. The first scene was the one in the coffee shop in which I am named The Black Dahlia. There was no rehearsal period. We did a take, adjusted the lighting, did the take again and that was it. Thank God I had training from summer stock where I learned things fast. I am pleased with that movie and I get asked a lot about her, who wasn’t the sharpest pencil in the box.

Lucie as Elizabeth Short
Lucy and Lucie

I’ve heard your mom lowered her voice through an unusual way of driving. Do you know what I am talking about?
Yes. When she was starting out, someone at the studio told her that her voice was too tinny, that it had no tone or presence.  My mother asked, ‘What the hell am I going to do about that?’ She was told to drive her car down the middle of the road, screaming at the top of her lungs into the wind. I’ve heard my mother say this many times, but she may have exaggerated the story since she’s been known to exaggerate. I don’t know if she actually drove at 90 miles-per-hour or how long she did this. It’s suicide for any singer or actor who tries this today.

We’ve already mentioned Liza and Cher and Barbra. Let’s toss in Dolly and Bette . Are you a gay icon?
I don’t see myself as a gay icon—Minnelli, Cher and Dolly are significant arena fillers. I  think I have a respectable gay following. Let’s put it this way: We like each other.  I have lots of gay friends. They like fun. They like laughter. They like dressing up and having a good time. That’s what it’s all about, no?

.
A triumvirate of gay icons: Liza, Lucie and Joan

 

Norwegian Cruise Line offers three (Donna) Summers and lots of “Hot Stuff”

Norwegian Cruise Line (NCL), the innovator in global cruise travel with a 55-year history of breaking boundaries, has risen the curtain to announce the cast of its highly-anticipated headlining show, Summer: The Donna Summer Musical, premiering aboard the all-new Norwegian Prima beginning in August 2022.

The Tony-nominated musical narrates the story of Summer’s prolific rise to fame, showing the Queen of Disco at three of the most pivotal stages of her career: Diva Donna, Disco Donna and Duckling Donna. The Brand has announced the cast who will take on the mantle of Donna Summer through her most memorable moments in life:

· Beloved American Idol season two finalist, Kimberley Locke, takes on her first theater project at sea and will star in the breakout role of Diva Donna, playing Summer as she reaches the height of her career. Fans will be able to see the same charisma that got Locke to the final three contestants on her season of American Idol in this role. Locke is also well known for her work on television and Broadway, where she most recently performed in Kristin Chenoweth’s one-woman show, For the Girls.

· Taking on the role of Disco Donna is Valerie Curlingford, an extraordinary talent from the Netherlands. Curlingford will play Summer in her late teens and early twenties as she first finds success in the iconic ’70s disco era. 

· Duckling Donna will show Summer as she grows up in Boston in the 1960s. The role will be played by D’Nasya Jordan, who most recently starred as Little Inez in Hairspray.

“It is an incredible honor to play Donna Summer along a very talented cast in this highly-rated musical,” said Locke. “Summer’s inspirational story and pioneering talent led the way for so many of today’s brightest vocalists. She has left an immeasurable impact on music and culture, and I am excited to bring her story to guests around the world aboard the beautiful Norwegian Prima.” 

A group of people holding microphones Description automatically generated with medium confidence

The show-stopping production will feature more than 20 of Summer’s mega-hits, including “Bad Girls,” “Last Dance, and “Hot Stuff,” and will also provide viewers with a deeper understanding of the inspiration behind some of Summer’s most memorable songs. The 85-minute musical will be a first at sea, where the Prima Theater itself transforms into a full disco, allowing guests to become part of the show and live out their on-stage dreams as they dance along to Summer’s greatest melodies. 

“The legendary Donna Summer is an inspiration to many, and we cast performers who would honor her and match the same level of star power and talent,” says Richard Ambrose, senior vice president of Entertainment and Cruise Programs for Norwegian Cruise Line Holdings Ltd. “We continue to bring Broadway-level entertainment and world-class talent to our fleet, and we are excited for guests to be able to watch a musical they actually get to be part of. The new Prima Theater allows for a truly exciting show, and we know guests will find themselves enthralled with Donna Summer’s moving life story and timeless music.” 

Kimberley Locke, one of the Summers daze

Summer: The Donna Summer Musical is just one of the captivating shows available aboard Norwegian Prima. Also sharing a residency at the Prima Theater will be Noise Boys! an original, award-winning beat boxing experience produced by Nic Doodson, creator of “Choir of Man,” NCL’s best-rated entertainment show currently residing on Norwegian Encore and Norwegian Escape.

As part of the additional entertainment offerings on Norwegian Prima, the Brand will also debut live game show experiences that allow the audience to be part of the show and have an opportunity to win incredible grand prizes. These immersive productions take the Prima Theater and Nightclub and transforms it into a larger-than-life production set where guests can be participants in some of the world’s most iconic game shows including, The Price is Right LIVE, Supermarket Sweep LIVE and Press Your Luck LIVE. The ship also features “Sensoria”—a Vegas-style nightclub party presenting a journey through Coachella, Woodstock and Burning Man, all in one.  Plus, guests will be able to experience the first “Improv @ Sea” Comedy Club, and the guest-popular “Syd Norman’s Pour House” and so much more.

For more information about Norwegian Cruise Line’s award-winning 17-ship fleet and worldwide itineraries, or to book a cruise, please contact a travel professional, call 888-NCL-CRUISE (625-2784) or visit www.ncl.com.

Relive the Magic and Movements of Rudolf Nureyev with the intimate documentary “I Am a Dancer”

If you’ve ever had to privilege to see Rudolf Nureyev perform, the memories of his movements and motions will stay with you until your last breath.
Relive the magic again with I am a Dancer, the intimate 1972 documentary portrait, which offers an unprecedented look at the training and dedication behind his electrifying art.

Providing a unique glimpse into Nureyev’s personality, preparation and technique, the documentary includes excerpts from his performances in the classical ballets La Sylphide with Carla Fracci, and The Sleeping Beauty with Lynn Seymour; in addition to sequences from the modern ballet Field Figures with Deanne Bergsma, and Frederick Ashton’s Marguerite and Armand with his long-time partner Margot Fonteyn.

Film Movement has taken a most welcome leap by releasing this Golden Globe Nominee for Best Documentary Film Features  on Blu-ray for the first time in North America.

 
BONUS FEATURES
  • Terese Capucilli on Nureyev and Fonteyn
  • Skylar Brandt on I Am a Dancer
  • 16-page booklet with new essay by arts critic Kenji Fujishima 

“Full Bloom: Transcending Gender” follows the courageous journey of 13 transgender and two gay actors

It’s a courageous journey, transgendering from man to woman, woman to man.
Full Bloom: Transcending Gender follows 13 transgender and two gay actors as they transform their lives through the use of monologue, dialogue and performance art while preparing for the world premiere of the play, Lovely Bouquet of Flowers: An Exploration of Non-Traditional Gender Voices.

Michael D. Brewer’s Full Bloom features behind-the-scenes, rehearsal and performance footage that are interwoven with candid personal interviews with the cast, who talk about how they deal with family, inner conflicts, discrimination, coming out, surgery, hormones and the complexities of sexual identity and orientation. By sharing their own journeys, the actors transcend gender and challenge us to move past stereotypes and see what we all have in common as human beings.
Share the journeys with the First Run Features DVD release.

THIRTEEN’s American Masters and Latino Public Broadcasting’s VOCES offers a brilliant documentary on Raul Julia.

Flashback to 1982. Raul Julia was nominated for a Tony Award for his magnificent performance in NINE.

I was at the awards event, and a man came up to me and said, “You’re father is a great actor.”  I looked at him quizzically. Then he added. “You must be proud to be Raúl Juliá’s son”.

I smiled.  “I should be so lucky”, I told him. to him he encountered with, “You look just like him”!

I should be so lucky. One of my favorite performers—and one of the world’s—was taken from us way too early. In 1993, he was diagnosed with cancer, but he continued to act, playing rainforest activist Chico Mendez in the television movie The Burning Season (1994), for which he posthumously won Golden Globe, SAG and Emmy Awards.  Juliá’s brilliant and daring career was tragically cut short by his untimely death in 1994,  at age 54.

https://youtu.be/u8k3rI3WLPY

PBS Distribution has released Raúl Juliá: The World’s a Stage, a special presentation of THIRTEEN’s American Masters and Latino Public Broadcasting’s VOCES. This documentary is a warm and revealing portrait of the charismatic, groundbreaking actor, from his journey from his native Puerto Rico to the creative hotbed of ’60s New York City, to prominence on Broadway and in Hollywood.

Filled with passion, determination and joy and told in his own voice through archival interviews and in the words of those who knew him best, the film traces Juliá’s personal and professional life while showcasing performances from his collaboration with Joseph Papp’s The Public Theater to his successful cinematic career. His best-known roles include the history-making productions of Titus Andronicus, Two Gentlemen of Verona with Clifton Davis, The Taming of the Shrew with Meryl Streep and The Threepenny Opera (for which he was nominated for a Tony  for his role as Macheath); the Broadway musical Nine and Dracula; and films such as Kiss of the Spider Woman, Moon Over Parador, The Eyes of Laura Mars, Romero, Presumed Innocent and The Addams Family. 

Interviews with some of the most respected actors who worked alongside Juliá, including Anjelica Huston, Edward James Olmos, Rita Moreno, James Earl Jones, Sonia Braga, Rubén Blades and Esai Morales, illuminate his impact as an artist. In addition, actors John Leguizamo, Jimmy Smits, Andy Garcia and others share how they were profoundly influenced by Juliá and carry the torch of his legacy. Juliá’s personal side comes to life through never-before-seen family photos and home videos, along with reminiscences from his wife, Merel, his sons, relatives and friends, who share candid insights about his life away from the spotlight.

Ever-present throughout Juliá’s story is the cultural landscape of the entertainment world and the boundaries he broke. Before diversity and inclusion efforts were part of the national conversation, the big man with the engaging personality and accent was able to amass a varied body of timeless work that helped pave the way for Latino actors today. He was also a passionate and pioneering advocate of social causes, including ending hunger. In Juliá’s words, “It’s all done within a context of love. That’s the beauty of it, you see?”

PETRUCELLI PICKS: GIFT GUIDE 2019: THE BEST CELEBRITY TELL-ALLS OF THE YEAR (PART DEUX)

Oh! We so love tattletales, books that reveal the underbellies of stars and singers and criminals and musicians and authors and politicians . . . even if they are written by the celebs themselves.
Our picks for the best of 2019 continue. . .

Herman and Joe Mankiewicz wrote, produced, and directed more than 150 pictures, including triumphs as diverse as the Marx Brothers’ Monkey Business, Pride of the Yankees, the infamous Burton-Taylor Cleopatra and Guys and Dolls. But the witty, intellectual brothers spent their Hollywood years deeply discontented
and yearning for what they did not have, a career in theater.
The Brothers Mankiewicz: Hope, Heartbreak, and Hollywood Classics (Hollywood Legends Series) Herman gambled away his prodigious earnings, got himself fired from all the
major studios, and drank himself to death at the age of 55. Joe was a
critical and financial success, but his philandering with stars like Joan Crawford and Judy Garland distressed his wives, one of whom committed suicide. He wrecked his own health using uppers and
downers in order to direct Cleopatra by day and write it at night, only to be very publicly fired by Darryl F. Zanuck, a humiliation from which he never fully recovered.
What lives! What stories! What delicious drama! It can be found in The Brothers Mankiewicz: Hope, Heartbreak, and Hollywood Classics (University Press of Mississippi, $35).


Blue: The Color of Noise (St. Martin’s Press, $27.99) is the remarkable story―in pictures and words―of Steve Aoki, the superstar DJ/producer who started his career as a vegan straightedge hardcore music kid hellbent on defying his millionaire father, whose unquenchable thirst to entertain―inherited from his dad, Rocky Aoki, founder of Benihana―led him to global success and two Grammy nominations.
Aoki–also known for his outrageous stage antics (cake throwing, champagne spraying, and the ‘Aoki Jump’) and his endearing personality–recounts the epic highs of music festivals, clubs and pool parties around the world, as well as the lows of friendships lost to drugs and alcohol, and his relationship with his flamboyant father. Illustrated with candid photos gathered throughout his life, the book reveals how Aoki became a force of nature as an early social media adopter, helping to turn dance music into the phenomenon it is today.


Throughout her rise to fame and during some of the most pivotal moments of her life, Demi Moore battled addiction, body image issues and childhood trauma that would follow her for years―all while juggling a skyrocketing career and at times negative public perception.  As her success grew, Demi found herself questioning if she belonged in Hollywood, if she was a good mother, a good actress―and, always, if she was simply good enough.
As much as her story is about adversity, it is also about tremendous resilience. In the deeply candid and reflective memoir Inside Out (Harper, $27.99),  Demi pulls back the curtain and opens up about her career and personal life―laying bare her tumultuous relationship with her mother, her marriages, her struggles balancing stardom with raising a family, and her journey toward open heartedness.


In an arresting mix of visceral, soulful storytelling and stunning visuals, Face It (Dey Street Books, $32.50) upends the standard music memoir while delivering a truly prismatic portrait. With all the grit, grime, and glory recounted in intimate detail, the book re-creates the downtown scene of 1970s New York City,
where Blondie–a band that forged a new sound that brought together the worlds of rock, punk, disco, reggae and hip-hop to create some of the most beloved pop songs of all time– played alongside the Ramones, Television, Talking Heads, Iggy Pop and David Bowie. Aesthetically dazzling, and including never-before-seen photographs, bespoke illustrations and fan art installations, Face It brings Debbie Harry’s world and artistic sensibilities to life.


Rollicking but intimate, Still Here (Farrar, Straus and Giroux , $28) tracks one of Broadway’s more outlandish and direct personalities, Elaine Stritch.  We accompany Stritch through her jagged rise to fame, to Hollywood and London, and across her later years, when she enjoyed a stunning renaissance, punctuated by a turn on the popular television show 30 Rock. We explore the influential―and often fraught―collaborations she developed with Noël Coward, Tennessee Williams and above all Stephen Sondheim, as well as her courageous yet flawed attempts to control a serious drinking problem. And we see the entertainer triumphing over personal turmoil with the development of her Tony –winning one-woman show, Elaine Stritch at Liberty, which established her as an emblem of spiky independence and Manhattan life for an entirely new generation of admirers. I’ll drink to that, and one for Mahler!


With her second memoir, Home Work: A Memoir of My Hollywood Years (Hachette Books, $30), Julie Andrews picks up the story with her arrival in Hollywood and her years in the film industry, from the incredible highs to the challenging lows.
Not only does she discuss her work in now-classic films and her collaborations with giants of cinema and television, she also unveils her personal story of adjusting to a new and often daunting world, dealing with the demands of unimaginable success, being a new mother, the end of her first marriage, embracing two stepchildren, adopting two more children, and falling in love with the brilliant and mercurial Blake Edwards. Co-written with her daughter, Emma Walton Hamilton, and told with Andrews’s trademark charm and candor, Home Work takes us on a rare and intimate journey into an extraordinary life that is funny, heartrending and inspiring.


With candor, humor and warmth, Olivia writes about her life and career and cancer in the must-have Don’t Stop Believin’ (Gallery Books, $28). Available for the first time in the United States, this edition includes a new afterword by Olivia.
She speaks about her childhood, her father’s role in breaking German Enigma codes during World War II,  her feeling about about stardom,her beloved daughter Chloe, meeting the love of her life, and her passion and unwavering advocacy for health and wellness.
“I hope this story of my life from my early years up to today will bring some inspiration and positivity to the reader,” Olivia says. “We all share so many experiences in our own unique way.”
Olivia was diagnosed with breast cancer in 1992; the diagnosis “came the same weekend my father died of cancer, so you can imagine the shock”, she remembers. Learn more @ onjcancercentre.org.
Olivia has always radiated joy, hope and compassionate.
She continues to be a force for love, for goodness, for strength, throughout the world.
“I also  believe that when you go through something difficult, even something as dramatic as cancer, that something positive will come of it,” she says.
Don’t stop believin’.


As a young man Frederick Douglass escaped from slavery. He was fortunate to have been taught to read by his slave owner mistress, and he would go on to become one of the major literary figures of his time. His very existence gave the lie to slave owners: with dignity and great intelligence he bore witness to the brutality of slavery.
Douglass spoke widely, using his own story to condemn slavery. By the Civil War, Douglass had become the most famed and widely travelled orator in the nation. In his unique and eloquent voice, written and spoken, Douglass was a fierce critic of the United States as well as a radical patriot.
In Frederick Douglass: Prophet of Freedom (Simon & Schuster, $37.5), David Blight has drawn on new information held in a private collection that few other historian have consulted, as well as recently discovered issues of Douglass’s newspapers. This is an important, compelling biography, the winner of the 2019 Pulitzer Prize in history.


Condé Nast’s life and career was as high profile and glamourous as his magazines. Moving to New York in the early 20th century with just the shirt on his back, he soon became the highest paid executive in the United States, acquiring Vogue in 1909 and Vanity Fair in 1913. Alongside his editors, he built the first-ever international magazine empire, introducing European modern art, style, and fashions to an American audience. Conde Nast: The Man and His Empire (St. Martin’s Press, $32.50) was written with the cooperation of his family on both sides of the Atlantic and a dedicated team at Condé Nast Publications; here Susan Ronald reveals the life of an extraordinary American success story.


Recalling pivotal moments from her dynamic career on the front lines of American diplomacy and foreign policy, Susan E. Rice—National Security Advisor to President Barack Obama and US Ambassador to the United Nations—reveals her surprising story with unflinching candor in Tough Love: My Story of the Things Worth Fighting For (Simon & Schuster, $30).
Rice provides an insider’s account of some of the most complex issues confronting the United States over three decades, ranging from “Black Hawk Down” in Somalia to the genocide in Rwanda and the East Africa embassy bombings in the late ’90s, and from conflicts in Libya and Syria to the Ebola epidemic, a secret channel to Iran, and the opening to Cuba during the Obama years.
Intimate, sometimes humorous, but always candid, Tough Love makes an urgent appeal to the American public to bridge our dangerous domestic divides in order to preserve our democracy and sustain our global leadership.


Before he stole our hearts as the grooming and self-care expert on Netflix’s hit show Queer Eye, Jonathan Van Ness was growing up in a small Midwestern town that didn’t understand why he was so over the top. From choreographed carpet figure skating routines to the unavoidable fact that he was Just. So. Gay., Jonathan was an easy target and endured years of judgement, ridicule and trauma—yet none of it crushed his uniquely effervescent spirit.
Over the Top: A raw Journey to Self-Love  (HarperOne, $27.99) uncovers the pain and passion it took to end up becoming the model of self-love and acceptance that Jonathan is today. In this revelatory, raw, and rambunctious memoir, Jonathan shares never-before-told secrets and reveals sides of himself that the public has never seen.


Twyla Tharp is revered not only for the dances she makes—but for her astounding regime of exercise and non-stop engagement. She is famed for religiously hitting the gym each morning at daybreak, and utilizing that energy to propel her breakneck schedule as a teacher, writer, creator and lecturer. This book grew out of the question she was asked most frequently: “How do you keep working?”
Keep It Moving: Lessons for the Rest of Your Life (Simon & Schuster,  $27) is a series of no-nonsense mediations on how to live with purpose as time passes.
From the details of how she stays motivated to the stages of her fitness routine, Tharp models how fulfillment depends not on fortune—but on attitude, possible for anyone willing to try and keep trying. Culling anecdotes from her life and the lives of other luminaries, each chapter is accompanied by an exercise that helps anyone develop a more hopeful and energetic approach to the everyday.


Common, the man who owns a Grammy, Oscar and Golden Globe, follows up his best-selling memoir One Day It’ll All Make Sense with Let Love Have the Last Word (Atria Books, $26), an inspiring exploration of how love and mindfulness can build communities and allow you to take better control of your life through actions and words.
Common believes that the phrase “let love have the last word” is not just a declaration; it is a statement of purpose, a daily promise. Love is the most powerful force on the planet and ultimately, the way you love determines who you are and how you experience life. He explores the core tenets of love to help others understand what it means to receive and, most important, to give love.  He knows there’s no quick remedy for all of the hurt in the world, but love, for yourself and for others, is where the healing begins.


As part of Motown’s legendary songwriting and production team of Holland-Dozier-Holland, Lamont Dozier is responsible for such classics as “You Can’t Hurry Love;” “I Can’t Help Myself (Sugar Pie, Honey Bunch);” “Stop! In the Name of Love;” “Heat Wave;” “Baby Love;”  “You Keep Me Hanging On;” and on . . . and on.
After leaving Motown, he continued to make his mark as an influential songwriter, artist and producer with hits such as “Give Me Just a Little More Time,” “Band of Gold,” and “Two Hearts,” a chart-topping Phil Collins single that earned the pair a grammy and an Oscar nomination.
In How Sweet It Is: A Songwriter’s Reflections on Music, Motown and the Mystery of the Muse (BMG Books, $27.99) Lamont takes us behind the scenes of the Motown machine, sharing personal stories of his encounters with such icons as Diana Ross, Marvin Gaye, Stevie Wonder, Smokey Robinson and Berry Gordy. He reveals the moments that inspired some of his timeless songs—and pulls back the curtain on the studio secrets that helped him and his colleagues create “the sound of young America.”


P. T. Barnum is the greatest showman the world has ever seen. As a creator of the Barnum & Baily Circus and a champion of wonder, joy, trickery and “humbug,” he was the founding father of American entertainment—and as Robert Wilson argues in Barnum: An American Life (Simon & Schuster, $28), one of the most important figures in American history.
Wilson’s vivid new biography captures the full genius, infamy and allure of the ebullient showman, who, from birth to death, repeatedly reinvented himself. He learned as a young man how to wow crowds, and built a fortune that placed him among the first millionaires in the United States. He also suffered tragedy, bankruptcy, and fires that destroyed his life’s work, yet willed himself to recover and succeed again. As an entertainer, Barnum courted controversy throughout his life—yet he was also a man of strong convictions, guided in his work not by a desire to deceive, but an eagerness to thrill and bring joy to his audiences. He almost certainly never uttered the infamous line, “There’s a sucker born every minute,” instead taking pride in giving crowds their money’s worth and more.


Why shouldn’t we despise the asshole who’s about to be impeached? Protect your wives and daughters since Frump’s proclaimed his  seduction technique is to “grab ’em by the pussy.”  In Golden Handcuffs: The Secret of Trump’s Women (Gallery Books, $28), Nina Burleigh, explores his attitudes toward women by providing in-depth analysis and background on the women who have had the most profound influence on his life—the mother and grandmother who raised him, the wives who lived with him and the ugly daughter who is poised to inherit it all.
Has any president in the history of the United States had a more fraught relationship with women than Donald Trump? He flagrantly cheated on all three of his wives, brushed off multiple accusations of sexual assault, publicly ogled his eldest daughter, bought the silence of a porn star and a Playmate. The books proves is one sick motherfucker.


Winston Churchill called him World War II’s “organizer of victory.” Harry Truman said he was “the greatest military man that this country ever produced.” George Catlett Marshall was America’s most distinguished soldier-statesman since George Washington, whose selfless leadership and moral character influenced the course of two world wars and helped define the American century.
Long seen as a stoic, almost statuesque figure, he emerges in the pages of George Marshall: Defender of the Republic (Dutton Caliber, $34) as a man both remarkable and deeply human, thanks to newly discovered sources.
Set against the backdrop of five major conflicts—two world wars, Palestine, Korea, and the Cold War—Marshall’s education in military, diplomatic and political power, replete with their nuances and ambiguities, runs parallel with America’s emergence as a global superpower. The result is a defining account of one of our most consequential leaders.


In 1975 Andrew Ridgeley took a shy new boy at school under his wing. They instantly hit it off, and their boyhood escapades at Bushy Meads School built a bond that was never broken. As Wham!, R and George Michael, found themselves riding an astonishing roller coaster of success, taking them all over the world. They made and broke iconic records, they were treated like gods, but they stayed true to their friendship and ultimately to themselves. It was a party that seemed as if it would never end.
Wham!, George Michael and Me: A Memoir Hardcover And then it did, in front of tens of thousands of tearful fans at Wembley Stadium in 1986.
With WHAM!, George Michael and Me, (Dutton, $28), one half of one of the most famous bands in the world, tells the inside story of  his lifelong friendship with George Michael, and the formation of a band that changed the shape of the music scene in the early ’80s. Ridgeley ‘s memoir covers in wonderful detail those years, up until that last iconic concert: the scrapes, the laughs, the relationships, the good, and the bad. It’s a unique and one-and-only time to remember that era, that band, and those boys.


 

Important books about film and film stars, published by the University Press of Kentucky.

Books about film and film stars—important books about film and film stars—are published by the University Press of Kentucky. Here is a handful of new and forthcoming film titles.

Legendary actress and two-time Academy Award winner Olivia de Havilland ($34.95) is renowned for her role as Melanie Wilkes in Gone with the Wind (1939). She often inhabited characters who were delicate, ladylike, elegant and refined. At the same time, she was a survivor with a fierce desire to direct her own destiny on and off the screen. She fought and won a lawsuit against Warner Bros. over a contract dispute that changed the studio contract system forever. She is also renowned for her long feud with her fellow actress and sister Joan Fontaine—a feud that lasted from 1975 until Fontaine’s death in 2013.

Author Victoria Amador utilizes extensive interviews and forty years of personal correspondence with de Havilland to present an in-depth look at the life and career of this celebrated actress .Amador begins with Havilland’s early life ( born in Japan in 1916 to a single mother and controlling stepfather) and her theatrical ambitions at a young age. The book then follows her career as she skyrocketed to star status, becoming one of the most well-known starlets in Tinseltown.

Readers are given an inside look at her love affairs with iconic cinema figures such as James Stewart, and John Huston, and her onscreen partnership with Errol Flynn, with whom she starred in The Adventures of Robin Hood (1938) and Dodge City (1939 ). After she moved to Europe in the mid-’50s, de Havilland became the first woman to serve as the president of the Cannes Film Festival in 1965, and remained active but selective in film and television until 1988.

Olivia de HavillandLady Triumphant is a tribute to one of Hollywood’s greatest legends, who has evolved from a gentle heroine to a strong-willed, respected and admired artist


With celebrated works such as Alien, Blade Runner, Thelma & Louise, and Gladiator, Ridley Scott has secured his place in Hollywood. This legendary director and filmmaker has had an undeniable influence on art and the culture of filmmaking, but is also a respected media businessman.

In Ridley Scott: A Biography ($40), Vincent LoBrutto delves into Ridley Scott’s oeuvre in a way that allows readers to understand the yin and yang of his exceptional career. Presented is a unique crosscut between the biographical facts of Scott’s personal life—his birth and early days in northeast England, his life in New York City— and his career in Hollywood as a director and producer of television commercials, TV series, miniseries and feature films.

Every film is presented, analyzed, and probed for a greater understanding of the visionary, his personality, and his thought process, for a deeper perception of his astounding work and accomplishments. The voices of cast and crew who have worked with Scott, as well as the words of the man himself, are woven throughout this book for a fully realized, critical biography, revealing the depth of the artist and his achievements.


The many con men, gangsters and drug lords portrayed in popular culture are examples of the dark side of the American dream. Viewers are fascinated by these twisted versions of heroic American archetypes, like the self-made man and the entrepreneur. Applying the critical skills he developed as a Shakespeare scholar, Paul A. Cantor finds new depth in familiar landmarks of popular culture in Pop Culture and the Dark Side of the American Dream:
Con Men, Gangsters, Drug Lords and Zombies ($40). He invokes Shakespearean models to show that the concept of the tragic hero can help us understand why we are both repelled by and drawn to figures such as Vito and Michael Corleone or Walter White.

Beginning with Huckleberry Finn and ending with The Walking Dead, Cantor also uncovers the link between the American dream and frontier life. In imaginative variants of a Wild West setting, popular culture has served up disturbing—and yet strangely compelling—images of what happens when people move beyond the borders of law and order. Cantor demonstrates that, at its best, popular culture raises thoughtful questions about the validity and viability of the American dream, thus deepening our understanding of America itself.


Throughout his career, Alfred Hitchcock had to deal with a wide variety of censors attuned to the slightest suggestion of sexual innuendo, undue violence, toilet humor, religious disrespect and all forms of indecency, real or imagined. From 1934 to 1968, the Motion Picture Production Code Office controlled the content and final cut on all films made and distributed in the United States. Code officials protected sensitive ears from standard four-letter words, as well as a few five-letter words like tramp and six-letter words like cripes. They also scrubbed “excessively lustful” kissing from the screen and ensured that no criminal went unpunished.

During their review of Hitchcock’s films, the censors demanded an average of 22.5 changes, ranging from the mundane to the mind-boggling, on each of his American films. Code reviewers dictated the ending of Rebecca (1940), absolved Cary Grant of guilt in Suspicion (1941), edited Cole Porter’s lyrics in Stage Fright (1950), decided which shades should be drawn in Rear Window (1954), and shortened the shower scene in Psycho (1960).

In Hitchcock and the Censors ($50), author John Billheimer traces the forces that led to the Production Code and describes Hitchcock’s interactions with code officials on a film-by-film basis as he fought to protect his creations, bargaining with code reviewers and sidestepping censorship to produce a lifetime of memorable films. Despite the often-arbitrary decisions of the code board, Hitchcock still managed to push the boundaries of sex and violence permitted in films by charming—and occasionally tricking—the censors and by swapping off bits of dialogue, plot points, and individual shots (some of which had been deliberately inserted as trading chips) to protect cherished scenes and images.

By examining Hitchcock’s priorities in dealing with the censors, this work highlights the director’s theories of suspense as well as his magician-like touch when negotiating with code officials.