I felt a collective shudder from parents everywhere when they heard about this.

When did woman start reaching so low to find their heroes, giving up what the feminists fought so hard for in the 60s and 70s? Wouldn’t it be nice to go back just 10 years or so, before reality TV and the Internet, before any Josephine was celebrated for displaying slut behavior? It seems like the norm for women in Hollywoodland and pop culture is to use their sexuality, savvy and gifts to seek celebrity with an abandon of self-respect, integrity and class. Whether Lindsey Lohan’s endless partying, drinking, drugs, and prison; to Ashley Judd’s belligerent, political tirades.

Whatever happened to women showing character and integrity when making choices and exhibiting decorum in debate? Wouldn’t it be nice to see them exercise the brain God gave them and work at the top of their intelligence? Granted Paris Hilton, Kim Kardashian and Montana Fishbourne wouldn’t have careers if they had character, but TMZ would be much more palatable.

Rather than feeding these lower life forms with any more of the publicity that provides their sustenance, I thought I would celebrate a few exceptions to the rule.

Sandra Bullock has always been beyond reproach. She has used her savvy, intelligence, charisma, and contagious, self deprecating sense of humor as an actress, producer, daughter and wife, while keeping her private life as private as possible. Being a HUGE movie star while maintaining that air of mystery is a quality that is so missed in the industry. She has shown tremendous intelligence in choosing her roles and crafting her career. (Well, except for “What About Steve”…and oh, wait…”The Lake House.” But everyone has a career blunder here and there). When her then-husband’s affair made all the headlines and TV news lead ins, she held her head high while maintaining a low profile; and demonstrated gracious stoicism when her mother was ill and died.

Reese Witherspoon made her break-out role in Hollywood at 14. She has become an accomplished actress, producer, children’s and women’s advocate, wife and mother, all in the public’s eye. From growing up and marrying in Hollywood, to her highly publicized divorce; Reese has displayed Southern charm, wit, poise and inner strength.

Cynthia Nixon, one incredibly talented and versatile actress was quite the role model when she came out as a lesbian. She didn’t get on her pedestal in an angry rant to make everyone accept her lifestyle, or shove it in our faces. She went about her life and shared her story in interviews with radiant joy and happiness, warmth and charm.

Then there’s Angelina Jolie. An actress who’s lived both worlds. Her early days were fraught with odd and dangerous behavior and poor personal choices. She now uses her savvy and intelligence, beauty and glamour to promote humanitarian causes; to inform and inspire.

I can’t leave out Helen Mirren, who at 65 is still one sexy, intelligent class act! She’s used her sexuality, talents, sophistication and intelligence to work for her, without compromise and with class. She’s been playful in interviews regarding her nudity in film and does not apologize. Reminding us that on the big screen she is playing a scripted character; directed and professionally and artistically lit which shows it’s more about art than nudity and is anything but pornographic.

You may not agree with their political views, religious affiliations or sexual preference, but you can’t refute that these woman need to be celebrated for their intelligence, beauty-inside and out, self-confidence, savvy and character. So let’s turn off the rag mag shows and reality TV and leave the gossip in the supermarket check out aisle. We can only hope that slut behavior in Hollywood is nearing the end of its 15 minutes.

This is my love letter to Broadway.  Join this theatre nerd on my journey into the wonders and joy of the theatre going experience.

Whether you’re coming from Uptown or Downtown, the Eastside or Westside, as you make your way to the theatre, you get swallowed up into the hustle of Times Square and the atmosphere is electric. The streets fill with an eclectic mix of people bustling to their theatres surrounded by a cacophony of street music, bucket drummers, corner evangelists, vendors, excited chatter, car horns, and the occasional argument by someone who just got taken in a game of three-card monte.

Each theatre holds its own personal history and charm.  The Golden Theatre, one of the smaller Broadway houses seats 800. It opened in 1927 as the Theatre Masque with the flop “Puppets of Passion,” which ran for only 12 performances. In 2003 it became the home to the hugely successful passion of puppets in the Tony Award winning adult musical puppet show “Avenue Q,” which is still playing to packed houses.

The Gershwin Theatre, home to “Wicked, the Musical” is one of the largest theatres, specifically designed for big, extravagant musicals. In 1987 it housed “Starlight Express” and had skaters zooming up and down multi-level ramps and onto an extension built to encompass part of the audience.

The oldest and one of the more elegant theatres is the Lyceum built in 1903 and the newest theatre is the Henry Miller’s Theatre.  The landmarked 1918 facade was kept intact while behind it everything was torn down and rebuilt. Its new incarnation is scheduled to open in September ‘09 with the revival of “Bye, Bye Birdie” with John Stamos and Gena Gershon (“Dancing With the Stars” must have already been booked).  As much as I would love to take you on a tour of the over 100 Broadway and off-Broadway theatres, I won’t, I don’t want to lose you before we get to the really good stuff.

As you enter the theater you are greeted by the front of house personnel: box office staff, ticket takers, and ushers. They are all unique characters as diverse as the actor’s onstage. They are extremely knowledgeable and helpful, and some may have been there since Ethel Merman’s “Annie Get Your Gun” was the hottest ticket in town.

The box office personnel are unbelievably helpful. Not only in their knowledge of where every seat is, but also if you were going to see a particular performer, they know right where to seat you. And contrary to many people’s belief, they do offer you the best seat available. One afternoon I was in mid-town and decided to see a friend of mine who was in “The Producers.” I knew he had been on vacation but wasn’t sure which day he was coming back. Since I didn’t want to spend the money if he wasn’t going to be in the show, when I got to the box office I told them my dilemma and asked if he was back yet. Not only did they tell me he was, but they also told me who wasn’t going to be in the show for that performance, who would be going on vacation, and asked if I wanted to leave him a note.

The ticket takers and ushers are quick to get you in and seated and some are delightfully old school New York, their courteousness is no-nonsense; the faster they get you to your seat, the faster the person behind you gets swiftly served. Once you get your ticket scanned and head to your seat, you pass the bar and the souvenir kiosks. I’ve been in some of the theaters so often I don’t feel the need to view the lovely interiors, so I stealthily advance my way in between the first timers standing, marveling at the gilded plasterwork. While on the way to my aisle, I catch a glimpse of the overpriced magnets and t-shirts and mugs, oh my!

I am SUCH a geek that I could find my own seat blindfolded, but I hit the usher up for my Playbill… ah, the Playbill, my theatre bible, the only tangible souvenir you get for your $100+ ticket… I show the usher my ticket and head straight to my seat.  I like to get to the theatre a little early to read the bios and to see if there’s a former client, student or past cast mate or techie I may know. And at Tony time, you get a separate, special edition Tony Award Playbill, complete with a scorecard, and pictures and bios of every nominee. This often has sparked fun conversations and heated debates with the strangers in my row. Yes, I told you… I am a GEEK!

As the house lights dim and the curtain rises to reveal the set, the audience reaction is audible with gasps of breathtaking awe. It can be the stark, stalled subway car, or the fantasy world beyond the yellow brick road.

Sometimes the set is far too grand to hide behind a curtain. When you walked down the aisle to your seat for the play “Lips Together Teeth Apart” you saw a “house that floats on a breeze-swept landscape of dunes and is equipped with a glorious expanse of blond-wood deck, a kitchen bespeaking the tyranny of shelter magazines and, reaching toward the audience’s lap, a swimming pool whose crystalline blue is pure Hockney.” You felt more like an invited guest to that 4^th of July party rather than getting ready to watch a play.

You may not notice the intricate lighting, but it contributes to the shifting moods and enhances the visual storytelling and is exquisite!  With the beauty and mastery of the sets, lighting and costuming, you are transported into the playwright’s mind.

Whether I see a straight show or a musical, I go to be engaged by the actors portraying the characters before me. I want to become emotionally involved, to be moved, to feel. I expect the actors to work their seemingly effortless skills and extreme talents to take me to the world beyond the proscenium.  Whether it’s the emotional drain watching the dysfunction of the Tyrone family in “Long Day’s Journey into Night,” or the irresistible laughter at the bloody and brutal “The Lieutenant of Inishmore,” I am rarely disappointed.

Watching a singer or dancer whether in the chorus or lead, you are watching years of discipline, perseverance, sacrifice, blood, sweat, and tears, happiness, and rejection. For every performer on Broadway there is a wonderfully unique back-story of how they got there, adding depth and texture to that story with each acting and dance class, singing lesson, audition and show they are cast in.

Some stories find future Broadway performers once sleeping on friends’ floors or a park bench or the dance studio waiting room, just to afford a dance class or headshots.  After years of bit parts and hoofing it in the chorus they give it one last audition before calling it quits, finding they landed the part of a lifetime. And many times that last audition is just that. Then it’s a move back home to open a dance studio or volunteer in their local Community Theater. Maybe, during a pre-Broadway run out of town, the understudy replaces a lead performer, the show goes to Broadway and that former understudy wins a Tony. This is Sutton Foster’s story. I was Sutton’s agent when she was a teenager and she was one of the few young actors I had complete confidence in and could cast in anything without an audition. After the job, the producer would always call with a glowing report.  A tremendously talented professional, even at 14.

A life in the theatre is a tough career, no show lasts forever and the Broadway performer does not get the acclaim of TV actors or Hollywood movie stars–and nobody’s getting rich.  But for most Broadway folks, it’s an honor and privilege to be working on Broadway.  Performing and working in the theatre is in their blood and the stage is their home.

For me, seeing a Broadway show with the original cast is as close to theatrical perfection as you can get. It’s the search that took place for the perfect package: a good actor, singer and dancer, the right look, chemistry with the material, and something that particular performer brought to their audition that the casting people didn’t even know they were looking for. Sometimes they know whom they want and it’s simply a call to the agent or manager, sometimes it seems like an endless search.

In a musical, the dancers and singers are as diverse as New York City itself and each is extraordinary in their discipline. The dancers will wow you with their incredible agility and grace, personality, and charisma as they push themselves and their bodies to amazing feats carrying the storyline along with unspoken passion.

In just a few measures the singer will engage and touch you deeply.  A good singer will bring that knot to your throat and get tears streaming down your cheeks or make you disgusted and creeped out. In “Blood Brothers” a mother stands over her slain twin sons and with heartbreaking disbelief she pleads in song for this not to be true. In “Sweeney Todd” Judge Turpin sings of his guilt-ridden lust as the ward he raised as his daughter comes of age and he intends to marry her. In contrast, the singers can bring belly laughs where your face and stomach hurt from laughing so hard as you watch profane, sexually active puppets singing and interacting with humans in a non-PC world. “WARNING: FULL PUPPET NUDITY” in “Avenue Q.”

At the end of “Mary Poppins” there’s a great theatre moment: **spoiler alert** While the ensemble is singing this beautiful, touching song amidst the starlit night, complete with shooting stars, Mary Poppins, with her trademark heels together and toes pointed horizon to horizon, slowly starts ascending from the stage out over the audience–main floor, mezzanine, balcony, and beyond. A friend of mine and I were sitting front row mezzanine and between the emotion of the last number, the spectacle, joy and sweetness of the show and watching Mary Poppins FLYING, I was nine-years-old again and happily, tearfully in the moment. Just as Mary was coming nearer and nearer in front of us, my friend elbows me repeatedly and commands, “look at me, I’m crying, oh my gosh, I can’t believe it, I’m crying!”  Are you kidding me!  I was completely taken out of the moment. From then on, I decided even if I go to the theatre with a friend, I’m sitting alone!

I hope you enjoyed the journey.  The Tonys air June 7th on CBS @ 8pm. Tune in and see the class and heart of Broadway’s finest (excepting Jane Fonda and Susan Sarandon). I have my scorecard and I’ll be rooting for my favorites with the passion of a sports fan!

Disappointingly, by the time I finally did see the show in 2004, the bits I loved ceased to exist and most likely had been banished to the “Late Show” archives.  Rather than attending my first show with eagerness, it was just a cheap way to kill an evening during a business trip.  Since I didn’t have a ticket, I knew I’d need to charm my way in.

A friend had told me that to get in the front row they have “audience scouts” outside the theatre looking for people who are attractive, friendly, expressive, and bubbly.  Being an actress I knew how to play that part, so I glammed up and put on my best New York artsy chic and set out to the Ed Sullivan Theatre.  The “audience scouts,” who looked all of about 14-years-old, were out in front waiting for their subjects to approach.  Oh, to be that young making so little money but holding so much power!  Knowing what I must do, I got my “bubble on” and with just the right amount of star stuck enthusiasm I approached one of the 14-year-old keepers of the audience paperwork!

I beamed: “I’ve been trying to get into see Dave’s show since the 80’s when he was on NBC! (Smile, gush, turning my womanly wiles to the young man who showed some flirt) OMG, how do I go about being in the audience?  And who’s going to be on the show tonight?” (They don’t reveal who the guests are in advance. My guess is they don’t want to lose audience members once they find out!).  The “audience scout” asked me a trivia question “Who is Dave’s assistant?.”  I answered “Stephanie” and I was in.  He gave me an index card with a specific color sticker on it and told me to come back in two hours and get in “THIS line…not that line…THIS line.” (As if “THIS” line was the waiting list for an organ transplant).

I went back to the apartment, took a nap (feigned excitement is exhausting), and went back at the designated time.  Well “THIS” line turned out to be the golden ticket. I was in “the chosen” group to sit in the front row.

Before the “audience wranglers” single filed us into the theatre, they gave a speech in the lobby.  First they told us that just before taping Dave comes out and takes questions from the audience.  They wanted us to be creative with questions, but no asking for a picture with him or a kiss from him, yadda yadda. Then they told us to “laugh, clap, and cheer loudly and heartily at EVERYTHING Dave says and does.  This is how Dave gets fired up.  The more clapping and laughing, the better show he’ll have, but no high pitched hooting.”  Perhaps Dave might confuse a hoot with a boo.

Wow, the audience holds Dave’s mood in the palm of their clapping hands. This is really shocking to me. Even attractive smiling people sitting in the front row can be anti-Obama.  Why would they give the audience that kind of ammo?  But I digress.  During Dave’s monologue he started Bush bashing.  I was a Bush supporter and just starting to become politically active at that time. For me the evening news was simply the boring stuff I had to sit through if I tuned in too early for “Entertainment Tonight” or the “Late Show.”  However, I did want to boo at the bashing once the rest of the trained seals stopped cheering, but being alone I didn’t have the courage.  I wouldn’t have been comfortable being publicly flogged by the “audience police” that were half my age.

To make my front row “Late Show” experience even worse, Diane Sawyer was the guest!  So, I curbed my boos and pouted until the show ended and I was released!  (Side note, the “Late Show” band live is amazing!)

Since then, my “Late Show” viewing has been infrequent.  I did happen to catch the show mid-March where Dave bashed Bush, Cheney, AND Clinton–an entire trifecta of been there, done that; after which he soberly stated “we finally have someone in the White House we trust.”  I waited for the punch line.  But holy cow, after a couple beats of dead, uncomfortable air and cricket chirps, he just moved on.

I haven’t watched since. I am NOW done with Letterman.  With one exception…I have decided to make it my mission, and to inspire my fellow BHers, to go see the show with the courage I couldn’t find: to “boo” at Dave’s Obama worship and redundant, tired old Bush diatribes.  I encourage you to arrive armed with allies; after all, there is safety in numbers.

The left is trying to silence our voices both socially and legislatively.  So with the media continuing their embargo against reporting any truths about the administration, the late night comedians ignoring the faux pas,’ blunders, and idiocies of the savior in chief, and Hollywood swooning over their royal hinies, it’s time to use the “Late Show” venue to do one little thing in the name of comedy…boo and hiss instead of staying silent while the lemmings cheer.

Go armed with a couple examples of what makes this president, like every other president, comic fodder,  just in case you’re the one Dave picks for the pre-show question and you ask, scratching your head, “Why aren’t you doing any Obama jokes?”

Whether it’s an uncomfortable question pre-show or a “boo/hiss” for some lame bit during the show, it would be fun to rock Dave’s mojo by making joyful noises against Obama the poseur lord. We could take up time and maybe even be ushered out. This would also remind Dave’s writers that there are still Republicans out in his audience!

One thing I know about performers: they can get glowing reviews, standing ovations, and thunderous applause, but they remember the harshest criticism, bad review, or night-long heckle more often than all the positive reviews combined.  Tina Fey even mentioned the critical fans on the internet in her acceptance speech for best actress at the Golden Globes. So, let’s start giving Dave a show he’ll remember with an audience that wants real hope for change.

I’m serious, anyone interested in a little “Late Show” guerrilla field trip, send me an email and let’s see how we can make this happen:

lateshow@comcast.net

PS – Let’s not stop at “The Late Show.” In New York City there is also “The Daily Show with Jon Stewart” for your “booing” pleasure (I can hear it from here!), “Colbert Nation” and in Burbank “The Tonight Show” just to name a few.  Go forth and exercise your right to “boo” while we still can!

I recently read Apocalypse Near? Liberal Actresses Line Up to Star in ‘Atlas Shrugged’  by Pam Meister and wanted to offer the perspective of someone who has experience in casting. The post told of Julia Roberts and Angelina Jolie having an interest in the role of Dagny Taggert. It was offered up, and several commenter’s mentioned that they feared Julia Roberts might change the script to reflect her liberal viewpoint. I don’t really think that should be a concern because many times certain actors are mentioned only to create buzz for a project, or to get their name out there, or both. I believe such is the case with Julia Roberts in this story.

So, for the sake of example here, let’s use Angelina Jolie, the suspected front runner. When casting at the Hollywood level, Angelina’s political leanings, opinions, beliefs and practices would not be considered. Assuming that the writer plans to stay true to the book, and the director is on the same page, an actress will not get a say in rewrites. Some actresses can demand rewrites as part of the negotiations, but such instances are rare. Normally, if she will not “play by the rules,” she does not accept the role.

This was the case when Jodie Foster was sought to reprise her role of Clarice Starling in Hannibal. Speculation was she declined the role because she didn’t like how the character in the sequel had been written.

If Angelina accepts the role it is her job to portray the character as conceived and written by the screenwriter, and defined by the director’s point of view. Of course she and director will have discussions throughout the filming process, but it won’t be to change the “bend” of the script. Whether it’s an actress being paid scale or Angelina’s $20 million paycheck, she is a hired professional first; and is expected to do her homework, get inside the character’s world and get the job done without her political persuasions seeping through.

Case in point: Calista Flockhart is a pretty well know, out-spoken liberal, and whether you like her or not, an outstanding actress. On Brothers and Sisters she plays Kitty Walker, a prominent conservative with a lot of zeal. Drawing on her technique and expertise she portrays this character passionately, with believability and depth.

Now with that said, if I were casting the movie I might consider one of the following strategies:

#1: Since the book already a has a following and is now back on the bestseller list, the movie has a built in audience. You don’t really need to cast the Hollywood heavyweights. So, let’s forget about Angelina and mainstream Hollywood for a moment and cast it with no names. OK, maybe the talented lesser known named Hollywooders. Then let’s go to Broadway where the cream of the crop actor’s are, as well as regionally where you’d be sure to find some amazing undiscovered talent. Assuming the screenplay follows the book and the director respects the material, casting stage actors is the cherry on top of this scenario. 

Mel Gibson went the way of casting the non-mainstream powerhouse actors when he cast The Passion of the Christ. The most recognizable Hollywood player was Jim Caviezel. Mel did this because he felt the story was the big star and he wanted it made true to his vision. He even started filming without outside funding or a distributor. The story and the buzz made Passion the #12 all time grossing film domestically, #3 all time grossing for the year of 2004, and #1 top grossing “R” rated film of 2004. Unfortunately it was only nominated for three Oscars: cinematography, make-up and original score. (Oh, please my nerves!) The nominations were another fatality of liberal Hollywood, much like The Dark Knight.

#2: Being a conservative and a Christian (oh yes, my friends, a double whammy against me in this business), we could do politically evangelical casting. Bring on the bitter, angry, Obama idolizing movie stars. From the table read, to rehearsals, to shooting, these liberal performer’s might start questioning their politics. Let’s take into account a movie can take between two and a half to five months to shoot, sometimes longer. That gives actors a lot of time for introspection. Furthermore, most of their time on set will be spent alone in their trailers memorizing Ayn Rand’s words and living in the world she and the director created. As the filming continues, perhaps the actors start to see the parallels between the book and the Obama agenda. At this point, with the gentle prodding by the material and its execution, the actor’s would start questioning their political beliefs and allegiance. Then once the seed of conservatism is planted, the stage is set for a sea change in the National Consciousness. Ah, one can dream!

Alas, since Hollywood is Hollywood, I think the big name, raging liberals will get the job. But fear not, whether a movie star or unknown liberal is cast, I think it’s safe to say the material will lead to a “crisis of liberal belief.” This is a good start.