Gossip Central

Rob Reiner, Visiting the Hamptons, Reads Mr. T at Celebrity Autobiography

Photo: Roger Friedman

Rob Reiner was the surprise guest at Guild Hall for Celebrity Autobiography, a riotous show based on a single conceit. It’s not that the lives of celebrities are merely a hoot, but that read aloud, the unintentional humor is mind-blowing. Case in point, Tiger Woods’ sexual innuendo describing his golf strategies in Tiger Woods: The Making of a Champion. Or Reiner as Arnold Schwartzenegger’s dialogues with himself, emboldening the workings of an already outsized ego, or Joe Namath’s obsession with his hair, in Alan Zweibel’s voice. When performed onstage for an audience by first class actors, the results are laugh out loud good. That is the engine that fuels Celebrity Autobiography, a hit every year on and off Broadway, and at Guild Hall. The brainchild of playwright/actor Eugene Pack, who, upon reading Vanna Speaks, producer Merv Griffith’s miraculously talented letter turner on Wheel of Fortune, discovered that describing in detail what it is that Vanna White brings to the game, is its own game. And so he had Lewis Black reading White.

The Return of Showtime’s The Affair: Preview at Gurney’s

Photo: Nina Salpeter

Showtime’s The Affair returns to Montauk for its final season, to a preview decktop screening at Gurney’s. With the drizzle and ocean breezes, fans felt right at home with the first episode: Helen (the remarkable Maura Tierney) ministers to both the death of Vic (Omar Metwally) and the birth of his son, Ed. Noah (a quizzical Dominic West) lends a helping hand. And in mini segments Noah discusses the film of his roman-a-clef, Descent, with its star; Joanie Lockheart (Anna Paquin), at a moment in the future, deals with family and missing her mother and father. The question is, do we miss them too?

Don Lemon and Chris Cuomo: Purist’s Connect 4 Brother Act

If you ask me what is the funniest show I have seen all summer, it is Don Lemon and Chris Cuomo at Purist Magazine’s Connect 4 Ideas Festival. The CNN commentators, brothers in arms, told how they got to where they are, even as Cuomo was wrapping up a week of scandal involving an Italian-American putdown turned violent. Without recounting the experience, let us just say, the media star did not shirk the subject, hit it straight on, as he and Lemon went through their bona fides through the lens of loved ones shown onstage behind them in photographs, from the bittersweet loss of Lemon’s sister Lisa to Cuomo’s dad Mario. This deft taming of the elephant in the room at Guild Hall took place in the company of family and friends, and in something unusual in the media, with the support of another kind of bond through CNN.

Ugo Rondinone at Guild Hall: Here Comes the Sun

Come out of the dark: Ugo Rondinone’s work at Guild Hall lifts us in radiant shots of sunlight. In the two large gallery spaces the walls are bare, lit by fluorescen fixtures. You might be mistaken to think you are in Walmart under this austere light, but the effect on the art is, well, looking in full sun, stunning. In one gallery, a series of graphic yet shimmering circles in gold and yellow are juxtaposed with Guild Hall’s regal space. In another gallery, large hoops made of twigs work as frames, and the few hung on the wall with nails suggest Christ’s crown of thorns, a beatific sight. In a third gallery, hung shingle style, are hundreds of children’s drawings of the sun, some in blazing color. Everywhere at Guild Hall, the suggestion of hope offers a glimpse of a better future.

Remembering D. A. Pennebaker: Through a Beat Lens

Back in 2002, the one and only time I attended the Cannes Film Festival, I was at dinner with D. A. Pennebaker, his wife and film partner Chris Hegedus, and my friend Roger Friedman who had made a film with the documentary team called Only the Strong Survive, an important historical exploration of R&B and soul music that was premiering at the festival. I was attending as a journalist, but Pennebaker knew I was a scholar of the beat generation literati, and as he did with every subject you
could mention, he had a story to tell.

On this occasion, he recounted his having talked to Kerouac about doing a film of On the Road, that is, Kerouac asked him to do it, just as he imagined Marlon Brando starring. Penny, as he is known, was going to start the film with the character of Dean, the legendary “son of a Denver wino” stealing cars, maneuvering them around a parking lot. It was Penny who gave me a new window into the subject I thought, after having written several books on Kerouac, I knew very well: how the newly created highway system in America promoted the fantasy of fast car escapes from the restrictions of society: Huck Finn’s raft supplanted by the automobile. The film never left their machinations.

Annie Get Your Gun at Bay Street Theater: Can You Get a Man With a Gun?

Even before its third show of the season opened this weekend, Bay Street’s revival of the 1946 musical Annie Get Your Gun was extended. The demand was that great, for Irving Berlin’s classic songbook score, and Dorothy Fields’ clever lyrics for such standards: “There’s No Business Like Show Business,” “Doin’ What Comes Natur’lly,” and many more, in a show that on the surface is a show within shows, featuring lead characters who are competitors and who, natch, fall in love. That winning formula cannot be beat: Bay Street’s first-rate production does it proud!

Set against a backdrop of rolling hills with fine musicians nestled in, the play is funny, charming; every song, dance and scene rises above the noise of our current events. When Annie and her love-at-first-sight beau/ foe Frank Butler sing, “They Say It’s Wonderful” in Act 1, I was melting in my seat. A leitmotif for Act 2, their romance holds sway, much because of the talents of the two leads, Matthew Saldivar as Frank Butler and especially Alexandra Socha as Annie Oakley. A coming of age story too, this is her show.

Elvis in Vegas: The King Graces a Surreal City in the Sixties

In Sagaponack, the house Richard Zoglin shared with his late wife Charla Krupp sits nestled on wooded grounds: immaculate, swimming pool, antique adorned, just the way she, a style editor for Glamour and In Style Magazine, left it. By contrast, the subject of Zoglin’s new book, Elvis in Vegas: How the King Reinvented the Las Vegas Show, which tells “The King’s” story in transforming Las Vegas entertainment, is as much about the place itself in all its tawdry madness: a culmination of Zoglin’s work in his last two books, Comedy at the Edge: How Stand-Up in the ‘70’s Changed America, and Hope: Entertainer of the Century, taken together, his books form a trilogy in the history of American entertainment, well researched and themselves well, highly entertaining.

Mike Wallace is Here: Remembering a Real Journalist

Many who grew up watching 60 Minutes regularly will find Avi Belkin’s documentary, Mike Wallace is Here, a trip down memory lane. And still, this fresh look at a premiere television show, and career we thought we knew, offers many surprises. Wallace worked his charm and good looks on commercials, and other odd acting jobs. When he first came on board for this great show, known for superb reporting, his colleagues thought he would not be rigorous enough. He proved them wrong. And at a recent special screening at the Whitby Hotel, with 60 Minutes correspondent Steve Croft attending, as well as a stellar group of documentarians, Barbara Kopple, Karen Goodman, Katherina Otto-Bernstein, the consensus was, here was a serious journalist, and an impressive, entertaining look at an esteemed part of American culture by an Israeli filmmaker.

Julian Schnabel’s Sculpture and other Delights at LongHouse Reserve

Two white sculptures stood grandly erect on a corridor of green, stately gentlemen greeting guests for the annual summer benefit at LongHouse Reserve in East Hampton. In plaster over burlap, the work by the artist/ filmmaker/ sculptor Julian Schnabel fit the earthy yet well-groomed site, a home to art by Yoko Ono and Buckminster Fuller. Schnabel was to be honored that evening, along with fashion designer Donna Karan. At cocktails, Schnabel’s family, his wife Louise Kugelberg, and sons Vito, Cy, and Olmo Schnabel circled Julian as Hal Willner, Zac Posen, Laurie Anderson, and Benjamin-Sainte Clementine gathered and kibitzed before the celebration. Laurie would perform that evening, and Julian brought Ben to perform too, at a dinner hosted by Jack Lenor Larsen. Ralph Gibson, Florence Fabricant, Fern Mallis, and many others wore rose for the occasion, themed la vie en rose.

Hamptons Journal: Mercedes Ruehl at Bay Street, Dancers for Good at Guild Hall, The Antiques & Design Show at Mulford Farm

Oh for the days when “Trigger” was simply the name of Roy Rogers’ horse. In Safe Space, a new play by Alan Fox and under Jack O’Brien’s deft direction, in its final performances at Bay Street Theater, “trigger” is that plucked from the headlines buzzword for inciting a sensitivity—any psychological, cultural, relevant sore spot-- it is safe to say, that boggles the imagination. You just want to scream, “get over it,” as Jenny, an Asian American student at the fictive Alman College, in the name of a student activist group, tries to get a black instructor fired for giving an assignment that, in her trigger-speak, justifies slavery. Huh?