Three weeks until the Tony Awards, and the Broadway extensions (i.e. bids for prospective votes) are in full swing. The Trip to Bountiful has announced an extension to Sept. 1, and Vanya and Sonia and Masha and Spike has announced it will extend several more weeks to July 28 (as star Sigourney Weaver amusingly pointed out: “the audience’s response is so enthusiastic—and, also, we need the money.”). Billy Crystal warmed the hearts of many by announcing that he will be reviving his Tony-winning solo effort 700 Sundays for a holiday run later this year. And though it’s May, there’s no slowdown for new Off-Broadway offerings, among them a comic take on the Constitution by a former SNL-er and the long-awaited return of one of last season’s most acclaimed new musicals. Click on the links below to read the full reviews: READ FULL STORY »
Tag: Philip Seymour Hoffman (1-8 of 8)
Inside the Dolby Theatre, the array of dresses, tuxes, champagne flutes, Hollywood chatter, and discussion of which commercial break is best for making a run to the bar sometimes overshadow watching the show itself. Sunday night was no exception, as the audience from our vantage point in the first mezzanine reacted positively to host Seth MacFarlane and screamed loudly for winners like Life of Pi and Argo. But what happens when the show takes a break? Who’s hanging out with whom in the lobby? Here are a few of our favorite insider scenes from Sunday night’s Oscars.
The commercial breaks seem so fast. You may be longing for the DVR when you watch the Oscars at home, but inside, the breaks feel faster than you can say “and the Oscar goes to.” Commercials are the only time you can move into the lobby or back to your seat — and in floor length gowns, that’s no small task.
In The Master, Philip Seymour Hoffman plays the charismatic founder of a spiritual movement he invented after World War II. His group claims to help practitioners free themselves from traumatic life experiences. Oh, and a boat is involved.
But Hoffman’s character, Lancaster Dodd, is definitely not a thinly-veiled version of L. Ron Hubbard. And his movement is definitely, definitely not a slightly altered spin on Scientology. Nope. Not at all.
The Oscar-winning actor said as much — early and often — in a recent interview with the Wall Street Journal. In fact, he’d really appreciate if everyone would just stop it with all the Scientology stuff: “It’s not a Scientology movie. It’s something else,” he told writer Rachel Dodes. And that’s pretty much all he would say, despite Dodes’ efforts to, you know, interview him:
In its final week on Broadway, the hit British comedy One Man, Two Guvnors starring irrepressible Tony winner James Corden shattered the box office record at the Music Box Theatre, pulling in $853,518 (91 percent of the venue’s potential gross), according to figures from the Broadway League. That’s a remarkable achievement for a nonmusical production on the Great White Way. One Man is one of only three straight plays that have opened this year and recouped their producers’ initial investments (in this case, $3.25 million). The others are the acclaimed Tony-winning revival of Death of a Salesman starring Philip Seymour Hoffman, which earned back its $3.1 million investment 14 weeks into its 16-week run this spring, and the star-studded election-year revival Gore Vidal’s The Best Man, which announced last week that it had recouped its own $3.25 million investment (the show is scheduled to close this Sunday, Sept. 9).
Meanwhile, Bruce Norris’ topical drama Clybourne Park, which also had its last performance on Sept. 2, concluded its five-month run with a (modest) bang. Final-week ticket sales climbed 15 percent to $486,336, nearly 57 percent of the show’s potential gross. Despite winning the Pulitzer Prize and this year’s Tony for best drama, the production featured a cast unfamiliar to non-theatergoers and never really caught fire at the box office. It’s not expected to make back its initial investment.
As usual, Broadway’s box office was dominated by the familiar stable of musical powerhouses. The Lion King led the charge with $1.72 million for the week; followed by Wicked ($1.7 million); The Book of Mormon ($1.67 million, a new house record); Spider-Man: Turn Off the Dark ($1.43 million); and the Ricky Martin-led revival Evita ($1.1 million).
The peculiar promotional campaign for Paul Thomas Anderson’s The Master took another freaky-cool step today with the release of yet another entrancingly weird clip from the film. Doubling as a promotion for a special charity screening of the film tonight at Chicago’s Music Box Theatre, the clip raises the curtain just a bit more on the methods of Philip Seymour Hoffman’s Lancaster Dodd. His faith-based group seizes the attention of Joaquin Phoenix’s Freddie Sutton, a WWII vet and lost soul who somehow seems both sweet and deeply creepy when talking with Dodd about the woman he’s most sweet on. Check it out below: READ FULL STORY »
As we look ahead to the Tony Awards on Sunday, June 10, EW is taking a closer look at this season’s nominated selection of new musicals, plays, and revivals, all of which will be competing for Broadway’s highest honor. Today, we dive into this year’s nominees for Best Revival of a Play. (See also: Best Musical, Best Play and Best Revival of a Musical.)
Arthur Miller’s Death of a Salesman
Opened: March 15, 2012
Closed: June 2, 2012
Starring: Philip Seymour Hoffman, Andrew Garfield, Linda Emond, Finn Wittrock
Written by Arthur Miller; directed by Mike Nichols
Synopsis: Miller’s classic American story follows traveling salesman Willy Loman (Hoffman) as he reaches the end of his career. After a long life of work and exhaustion, Loman tries to piece together his future with steadfast wife Linda (Emond) and mend his strained relationship with unambitious son Biff (Garfield).
Now is the time for Newsies fans and theater geeks everywhere to seize the day! It’s Tony time! This Sunday, Neil Patrick Harris will be donning his tux once again to host the annual celebration of Broadway’s finest moments (and we’ll be live-blogging the Tony Award ceremony, so please watch with us!). In a repeat from last year’s NPH-led event, expect another rash of jokes at the expense of Spider-Man: Turn Off the Dark. Fellow EW critic Melissa Rose Bernardo and I here offer our predictions in all the Tony categories (you’ll see our names after each of our picks). Disagree? Please let us know who you think will win — or should win — in the comments section. (For more Stage coverage, go to EW.com’s Stage hub.)
Clybourne Park (Thom)
Other Desert Cities (Melissa)
Peter and the Starcatcher
Venus in Fur
It’s one of the strongest years in recent memory for new American plays. While Jon Robin Baitz’s Other Desert Cities won wide acclaim when it opened last year, I give the edge to Pulitzer winner Clybourne Park.
Leap of Faith
Newsies (Melissa, Thom)
Nice Work If You Can Get It
This is a two-way race between movie-based hits that each have an underdog story: Once and Newsies. The former is charming but relatively small-scale. And since a sizable number of Tony voters handle Broadway tours throughout the country, a more traditional, broader-based hit like Newsies is likely to win out. READ FULL STORY »
In a rare feat for a non-musical on Broadway, Mike Nichols’ acclaimed revival of Death of a Salesman grossed just over $1 million last week, according to figures released by the Broadway League. The hit show, starring Philip Seymour Hoffman as Willy Loman and Andrew Garfield as his wayward son, Biff, set a new record for the 1,036-seat Barrymore Theatre. What’s even more remarkable is that Salesman scored at the box office despite playing only seven performances (most Broadway shows are mounted eight times per week). The production isn’t exactly a dime a dozen, to quote one of Biff’s lines: It’s been boosted by an A-list cast, stellar reviews, multiple Tony nominations, and a strictly limited engagement that’s let producers charge a premium for tickets. Last week’s average ticket price was a whopping $140.68, which enabled the show to earn 107 percent of the theater’s potential gross. That’s good news for the show’s investors, who announced May 16 that they’d already recouped their $3.1 million commitment to the show.
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