Gossip Central

Joy Behar’s Healthy Disrespect Benefits Guild Hall

As I write, Joy Behar asks Kamala Harris tasteful if anxious questions about the election/ COVID/ and Joe Biden’s plans on her daytime show The View. Her respect is through the roof, though you know, after years of experience, she has her doubts about the role of government on the planet. Wearing a blue sweater embroidered with the words, “I’m speaking,” she’s a lot to reckon with; with her, nobody’s going to mess. It’s a leap to think of her as a playwright, and now, we must. In five tidbits she wrote, an entertainment to benefit Guild Hall this week titled, A Totally Disrespectful Evening of Virtual Short Plays, she puts her views to dramatic effect. An A-list of her pals—Lorraine Bracco, Dylan McDermott, Robert Klein, Brenda Vaccaro, Chris Bauer, to name a few-- mouth off in a variety of situations, culminating in a one-woman tour de force: Behar herself as a shoplifter, offers a step by step how-to, explaining the orgasm as you exit the store, and stating, “If Trump gets re-elected in November, who knows what crimes I might commit.”

Ric Burns on Making Oliver Sacks: His Own Life: Narrative is Therapy

Waxing euphoric, documentarian Ric Burns, exclaimed, “The story in 14,233 lines was an attempt to get to the bottom, to heal the world.” He was not speaking of Doctor Oliver Sacks and his biopic, Oliver Sacks: His Own Life, of the noted neurologist and writer of Awakenings (1972) and The Man Who Mistook his Wife for a Hat (1985), the subject that brought us together on the phone this week, but of a current project on Dante, the Italian Renaissance author of The Divine Comedy: “Now in 2020,” said Burns, “Everything needs healing.”

The theme of healing unites these films for Ric, the younger brother of Ken Burns, to whom he apprenticed himself for the mini-series The Civil War and other projects, before striking out on his own. Oliver Sacks: His Own Life was featured in last year’s New York Film Festival—he says of the prestigious festival: “We’re not in Kansas anymore,” but as he’s made the rounds, including the 2019 Hamptons International Film Festival, he’s found, “People really gravitate toward Oliver Sacks.”

David Byrne’s American Utopia: Spike Lee’s Documentary Brings Us to Our Senses

Back before the pandemic made everything stop making sense, David Byrne opened his American Utopia at Broadway’s Hudson Theater, the most entertaining show in town. Everybody knew it, and tickets sold like hot cakes. Of course, so much in America had stopped making sense prior to the unanticipated lockdown; as upbeat as American Utopia was, a sly critique marked every song in this unique musical, immigration, leadership, and Black Lives Matter. Now that Spike Lee has made a film of the staged performance, with the great Ellen Kuras’ cinematography, and now that the film has opened the Toronto Film Festival last week, and will be featured in the upcoming New York Film Festival before it airs on HBO in October, a new audience can have a close up view of the most exuberant, life affirming, and topical musical, just before our elections.

Poetry in a Pandemic: Bukowski, Towle, Giorno, La Prade

For Charles Bukowski’s 100^th birthday, coronavirus or not, attention must be paid. Famous in movies portrayed by Mickey Rourke (Barfly) and Matt Dillon (Factotum), the subject of a 1973 documentary by Taylor Hackford, Bukowski was a one-of-a-kind, sexy despite huge facial crevices left by acne, crude: he once described writing a poem was like taking a big bear shit. Now there’s a new documentary assembled from a rare, rediscovered 1981 interview by Silvia Bizio, an Italian journalist, You Never Had It-An Evening with Bukowski, directed by Matteo Borgardt, and whether or not you agree with Bukowski’s view of poetry composition, it is a must-see for a glimpse of this boozing, chain-smoker who fascinates with every word.

Blair Underwood’s Ecstatic Face in The Pack, a Virtual Premiere at Guild Hall

The season would not be eh, the season without all-star comedy from Eugene Pack. He was back virtually on Sunday premiering a program of 3 short works to benefit Guild Hall, starring Matthew Broderick and John Leguizamo performing together for the first time, Blair Underwood and Sherri Shepherd, and Rachel Dratch, Cecily Strong, Andrea Martin, Santino Fontana and Maulik Pancholy. The talented Dayle Reyfel, Pack’s partner and frequent ensemble player, appeared in an unusual way. The playlets inaugurated the final leg of a series that will include some live, distanced, performances in the Guild Hall garden, all sold out. Reached by phone in LA, playwright/ performer, Eugene Pack said he is busy bringing actors together, but he wants everyone to know The Pack owes more to film, although it sounds more like an innovative hybrid, reflecting our current states of creativity.

Charlize Theron in The Old Guard: Some Myths Don’t Die

From the look of Charlize Theron throughout her new Netflix movie, The Old Guard, immortality is not what it’s cracked up to be. Grimacing while engaging in the most athletic combat against warriors, scientists and opportunists who want to package her “gift,” she’s not having it. Called “Andy,” short for Andromache, so you know she goes back to Greek myth, she has already endured the fall of Troy and murder of her son. But through the ages, with medieval torture repeated endlessly, she’s the embodiment of the Myth of Sisyphus. Loneliness, watching loved ones die, may be worse, or facing drowning over decades as she does, having committed the sin of witchcraft alongside fellow immortal Quynh (Van Veronica Ngo), encased in an Iron Maiden. And yes, a legend Andy is, all fierce, her body finely tuned, not a gussied-up Wonder Woman. Watching Andy go through her paces is thrilling.

Guild Hall Hosts A Revived Reading of Tennessee Williams

The works of Tennessee Williams are a goldmine for veteran actors, and Guild Hall has a rich history of producing his plays. At one such event, here’s how it went for a reporter and Eli Wallach. How old am I? asked Eli Wallach playfully. The occasion was a staged reading of works by Tennessee Williams in 2011, his words from memoirs, letters, and scenes from his work, most memorably The Glass Menagerie, in honor of the playwright’s centennial year. 91, averred a reporter. With a smile, his finger gestured up. Meeting the challenge, the reporter counted to 95. His face glowed. That’s it. That great evening at Guild Hall, directed by Harris Yulin who also performed, featured Mercedes Ruehl as Amanda Winfield, and on May 16, just nine years and, in the time of COVID-19, a world later, that evening will be revived at a staged reading of “Portrait of Tennessee: The Words of Tennessee Williams,” this time on Zoom.

Remembering Jerry Stiller

Of course, everyone remembers Jerry Stiller as George Costanza’s father on Seinfeld. Festivus? Remember the holiday of Festivus famously celebrated by George’s dad? Way before that he was the Stiller of Stiller & Meara, one of the greatest comedy teams ever, with his wife Ann Meara. And, as if I were paying a shiva call to his son Ben Stiller and family from my sequestered perch, I will recount a tale or two from this beloved curmudgeon comedian who died yesterday at age 92.

March 15, 2008 at Judith Crist’s “Survivor’s Party.” I am the guest of Sylvia Miles, and Jerry Stiller installs himself between us on Judith’s couch. Jerry Stiller tells the story about his Versace suit—he had had some sort of attack and went to the hospital—came out feeling incredible, thrilled with life. He goes by Versace where he had purchased a suit for $900 just a year before, and the salesman remembers him. He tries on this suit for $1200, a gorgeous blue silk with subtle dots woven in. Jerry says, but I bought one last year for only $900. Can’t you do something about this? Come on man, says the salesman. Don’t do this, but Jerry persists. Who can you call? Well Gianni is dead and Donatella is in Milan. Call her in Milan, and he gets the suit for $900.

Felt Sad, Posted a Frog (and other streams of global quarantine): What is “Essential?”

The writer/ editor Gordon Lish used to say, riffing off a groaner of a joke, “Everyone has to be somewhere.” For characters in isolation in a new play inspired by the moment, Felt Sad, Posted a Frog (and other streams of global quarantine), the location is all over the place. That, of course, is the point. We are all there, be it Belgrade, Buenos Aires, Bucharest or Berlin. An interweaving of streams by six playwrights—Iva Brdar, Jorgelina Cerritos, Rebekka Kricheldorf, Santiago Loza, Saviana Stanescu, Lyrae Van Clief-Stefanon—this work glimpses others in their sequestered locales, their loneliness, creativity, frustration, fear presented up close the way we are experiencing others these days—only, this is a work of theater, and like it or not, we’re in it.

Remembering Hal Willner: Music Impresario and Literary Man

Back in the early 1980’s, Naked Lunch author William S. Burroughs grinned across the screen on Saturday Night Live, having just been introduced as the greatest living writer in America by supermodel Lauren Hutton. Usually writers don’t read from their work on television, but behind the scenes, Hal Willner made it happen. Willner, beloved music producer is best known for his work with musicians, but he was always literary, and he loved the Beat writers, and made recordings with Burroughs, Allen Ginsberg, Gregory Corso, and Robert Wilson, who had collaborated with Burroughs and Tom Waits on The Black Rider. When his longtime friend Lou Reed died, he produced the memorial event for him at the Apollo Theater in Harlem. Now it is Hal we will have to mourn: he died on April 7 at age 64.

Here is a glimpse of Hal Willner at work on one of his productions: