A small town of 46,000 selling out a theatre is a mighty impressive thing. Natrually, the corrupt MSM prefers to focus on a single screening … at midnight … on a work night … that probably wasn’t even advertised.

Fox Nation:

“The Undefeated,” a glowing look at failed vice-presidential candidate and former Alaska Governor Sarah Palin has already sold out a show in Grapevine, Texas (population 46,000), according to the distributor Cinedigm.

Grapevine isn’t exactly a teeming metropolis but the film is set to roll out across Tea Party country in 10 AMC theaters.

We’re hearing that “Atlas Shrugged” is selling out theatres, even in New York! There’s no way to confirm, but that’s the word on Twitter.

For those of you who have seen it, did you catch our own Andrew Breitbart in a cameo? Christian Adams did:

I caught a showing of Atlas Shrugged and found both Pajamas Media CEO Roger Simon as well as Andrew Breitbart on the big screen. …

[W]ho would have thought Andrew Breitbart would be the next Internet media mogul to appear on the big screen?  I caught a glimpse of what I thought was Andrew in an Atlas Shrugged scene involving an anniversary party.   Andrew confirmed to me he indeed has an uncredited cameo in Atlas Shrugged.  Don’t blink, his big moment is only a few seconds.

If you’ve seen “Atlas,” let us know what you thought in the comments. If you haven’t, look for the closest theatre here and request your local theatre screen it here.

By the way, another rumor floating around is that if you buy Andrew’s new book “Righteous Indignation” and see “Atlas” this weekend, and angel will get its wing and a liberal’s head will explode. What you call a two-fer.

Top 10 Reasons America’s Having a Great Week…

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What’s happening in the way we watch, receive, and choose our movie and television entertainment might just end up being as revolutionary as the switch from silent films to talkies. And in many ways, what we may be witnessing is history repeating itself.  In 1949, the Department of Justice forced the major movie studios to sell their theatre chains. In other words, studios were no longer allowed to own both production and distribution of their product. Many believe this action effectively killed the legendary studio system, but that’s a debate for another time.

Fast forward to 2009 when the FCC granted studios the authorization to control the distribution of their films through video on demand (VOD). This essentially reversed the1949 DOJ ruling. Through the use of new technologies. the studios once again own both production (or acquisition) and distribution — as long as its on a television set through VOD. Obviously, movie theatres are still in business, but it’s not difficult to see where this is all headed, especially with the recent announcement of a premium VOD service that, for $30, will allow people to watch a film just 60 days after the theatrical release.

In an earlier post I laughed at the idea of charging anyone $30 to see a movie they could see for free on Netflix just a month or so later, but a bigger picture is starting to emerge. What looked like a desperate game of checkers to squeeze a little extra money out of a VOD market that doesn’t really exist, is now looking like a game of chess, with the endgame being studios back in control of the distribution of their product. Not ALL distribution. There will always be movie theatres. But the chess game might be to get you and I and everyone used to watching our movies at home — which will effectively leave theatre owners as specialty houses for fanboys and the like.

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The politically correct chickens are coming home to roost in the Orwellian world of the organized left’s free-expression-stifling speech codes.

To paraphrase Martin Niemöller’s famous admonition about complacency with totalitarian fascists:  “First they came for Rush Limbaugh and called his satire racist, and I didn’t speak out because Rush Limbaugh is a conservative.  Then they came for Dr. Laura and called her commentary racist, and I didn’t speak out because Dr. Laura is a conservative…”

Well, this time they came after a high school drama program in far-from conservative Westbury, CT.  The Arts Magnet School in that city planned a production of August Wilson’s 20th century classic “Joe Turner’s Come and Gone” until the district’s Superintendent, David Snead, tried to pull the plug because the play’s characters use the word “nigger”. (more…)

This week Barabra Streisand emerged from her self -imposed seclusion to grace Larry King and his viewers with her presence on the TV host’s penultimate broadcast.  As the Los Angeles Times put it, the “interview” resembled more of an infomercial for the product that is Barbra Streisand.

In segment after segment Barbra talked about Barbra.  Barbra talked about Obama.  Barbra talked about Barbra.  Barbra talked about Clinton.  And Barbra talked about Barbra.

Larry King dutifully congratulated her on all of her observations.

Here’s one my favorite moments:  When Larry King asked her about the first two years of Barack Obama’s Presidency she laments that President Obama did not use his “executive powers” to unilaterally repeal DADT.  Then, pricelessly, without any sense of self awareness she goes on to praise President Bill Clinton as one of our greatest Presidents.  It would have been at this moment that an actual journalist would have pointed out to Ms. Streisand that President Clinton was the “great” President that instituted the DADT policy that she now wants President Obama to unconstitutionally and unilaterally revoke.  Instead, Mr. King appeared to sit back and admire the beautiful lighting that Ms. Streisand probably supervised prior to the tape rolling.

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If opening night reviews are to be believed, the newest theatre hit of the year may have just premiered in Minneapolis last night.

Conservative talk show host Laura Ingraham has embarked on an ambitious venture that is sure to make most mainstream (left of Karl Marx) theatre critics scratching their heads – if not pulling the hair out of them. In the wake of her best-selling book, “The Obama Diaries” Ingraham has assembled a multi-media stage extravaganza complete with actors playing the roles of the President and First Lady.

I’m looking forward to providing our readers with a first-hand critical assessment of the production, but until then we’ll have to rely on some of the lucky folks in the audience last night. According to “MinnCon” at Redstate:

In a word, the show was “Obamalicious,” (satirically heavy on the “malicious”) and combined live onstage narration and hosting by Ingraham with real audio clips, photos, videos, and skewering-yet-spot-on impersonations of our imperious President and the First Lady by two fine performers.

Played – no, NAILED – by actors Russell Brown and Selma Schmidt (I believe those were the names – a printed program was not provided) the fictional secret thoughts of Mr. and Mrs. Prez came to life in all of their vainglory.

For the record, Reggie Brown played Obama and Sonja Schmidt played Michelle and yes, I hear their performances are spot-on and hilarious.

From my perspective (and the perspective of any good capitalist) the only real measure of a show is how it does at the box office.  And  by that measure, “Obama Diaries, LIVE” appears to be a hit.  The show played to capacity audiences in not-so-conservative Minneapolis.  If the show can play there, imagine how it will do in Dallas. (more…)

Join us here at Big Hollywood tonight as we live-blog the west coast feed of the Tony Awards from 8:00 PM – 11:00 PM Pacific Time. Broadway’s brightest lights will shine on the stage of Radio City Music Hall as host Sean Hayes moves the evening along with grace.

For the final two hours of the show, we will also have live, streaming audio of “The Stage Right Show” with live callers, running commentary, by yours truly and a slew of surprise call-in guests (many of whom are your favorite Big Hollywood contributors).

Join us here at Big Hollywood, sign in to the live-blog chat room, and join the interactive, multi-media, Broadway fun! We liveblog using ScribbleLive.com, so if you haven’t already, head over there and create a profile–don’t forget to upload an avatar!

And, don’t worry, if you come late, the usher will seat you at an appropriate break in the performance.

The first thing you need to know about “Race,” the new play by David Mamet currently running at the Barrymore Theatre on Broadway, is that it isn’t really about race.  Well, not entirely about race.

The setting is a conference room of a law firm.  Henry Brown (David Alan Grier) and his white partner Jack Lawson (James Spader) are interviewing a prospective client (Richard Thomas).  The client, a wealthy white man, is standing trial for the rape of a black woman.

Two expert attorneys interviewing a prospective client is the perfect device for Mamet to not only inform the audience of the facts at hand and the idiosyncratic personalities of the characters we will spend the next hour and a half of our lives with, but it also serves as a perfect showcase for the playwright’s legendary use of dialogue, timing, over-lapping speech patterns and no-holds-barred language.  For a Mamet addict, this is heroin.

It is a chance to watch a conversation that anyone outside that room was never meant to hear.  And the language the characters use reflect the comfortable and brazen style reminiscent of Glengarry Glen Ross and Speed-the-Plow, the unique vernacular often referred to as “Mamet-Speak.” (more…)

The same country that brought us Leni Riefenstahl is now set to deliver Hope: The Obama Musical.  I’m serious, they are really doing this.  The musical is set to open in Frankfurt on Jan. 17th and, in all fairness, it would be wrong for me to give any kind of opinion on the quality of this show before John Nolte flies me out to Germany to see it (John?  I’m waiting…hello?  Is this thing on?) [Ed. Note: Absolutely! Just bring back all your receipts and, uhm, I'll get to them when I can.]

Luckily, the press office for this soon-to-be classic has assembled a slick little YouTube video highlighting all of the big moments of the show.  Believe it or not, this video is meant to inspire you to buy a ticket.

Great, terrific, perfect…  um…  a couple things. (more…)

It has been almost one year since I began writing here at the Big Blogs of Breitbart.com.  When it all began, I was motivated by the events that brought down Sacramento Music Theatre executive Scott Eckern.  Ironically, his story, which inspired this new avocation also served as a real-life lesson in the new political world we inhabit.  You see, Mr. Eckern was forced to resign his position because it was discovered that he donated money to the anti-same sex marriage Prop. 8 campaign.  Knowing that, I would have been a fool to put my name on the things I’ve written here.  So, “Stage Right” was born.

Since then, I have been fortunate enough to have free-reign on all things theatre at Big Hollywood (gently guided by the collective wisdom of Andrew Breitbart and John Nolte) and I’ve had a fantastic time writing about the industry, about the non-profit world… even about my favorite shows.  But now, things have changed just a bit.

It started with Patrick Courrielche’s now famous expose’ on the NEA Conference Call.  Just like the Scott Eckern story, what bothered me most at the time was the media and especially the left-leaning theatre writers’ attack on Patrick.   Instead of showing any level of skepticism over the appropriateness of staff members of the NEA and the White House coordinating discussions with artists about how they can help move the President’s agenda by creating works of art in favor of specific issues, Patrick was attacked and libeled for the sin of telling the truth and bringing the subject to light.

Next came the media’s reaction to James O’Keefe and Hannah Giles’ blockbuster series of videos exposing the corruption at ACORN offices from sea to shining sea.  Again, the venom and outrage is directed at the messenger while the message gets rationalized and obfuscated.  This story raised my ire to such a degree that I began posting at Big Government. (more…)

This is a regular survey done by the National Endowment for Obama that measures public participation in all areas of the arts. We hear a lot about Hollywood’s “record-breaking years” and will again this year, but the overall trend line for film attendance is headed only one way and an increase in ticket prices and a few monster hits each season like “Dark Knight” and “Transformers” are usually the difference between a record year and panic:

A new study from the National Endowment for the Arts finds a notable decline in theater, museum and concert attendance and other “benchmark” cultural activities between 2002 and 2008 for adults 18 and older, and a sharper fall from 25 years ago. The drop was for virtually all art forms and for virtually all age groups and levels of education.

The NEA’s senior deputy chair, Joan Shigekawa, listed a few possible reasons: The rise of the Internet; less free time; and cuts in arts classes.

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Back in February, my Big Hollywood colleague and super-funny-dude Tim Slagle wrote a series of posts on the Broadway musical “Avenue Q”.  The show was going through a mini-crisis/publicity stunt because one of the big punch lines to the song “For Now” was no longer valid:

A song called “For Now” has the puppets reassure each other that most things in life are temporary, like hair and sex. Until recently, one of those temporary things was “George Bush.” Knowing that Obama was to be shortly inaugurated, the producers and writers were perplexed for a replacement. I know it should be obvious to everyone else, but Broadway producers don’t think like you and I. So they threw a contest to decide a better verse.

Two weeks later, Slagle followed up with the big announcement of the new lyric: (more…)

Last night, David “I’m No Longer a Brain-Dead Liberal” Mamet’s “Oleanna” opened on Broadway.  The production (a transfer from Los Angeles’ Mark Taper Forum) stars Bill Pullman and Julia Stiles.  As discussed on these pages Friday, this play was originally produced off-Broadway 18 years ago and is now receiving its first, official Broadway production. “Oleanna” and the upcoming “Race” are two opportunities for Mr. Mamet’s work to be evaluated by the heavily-left-leaning theatre critics.

The play received quite positive reviews.  Here are some interesting things I read in the reviews…

In Elysa Gardner’s positive review in USA Today, she refers to the contrasting times in which the play is now produced versus the original production:

When David Mamet’s Oleanna premiered in 1992, it was widely perceived as a response to the confirmation hearings for Supreme Court Justice Clarence Thomas, in which Thomas was accused of sexual harassment by former assistant Anita Hill.  It has been 18 years since that real-life drama played out. But as the very different controversy now surrounding David Letterman reminds us, the debate over what constitutes an abuse of power between a male authority figure and a female subordinate isn’t going away. (more…)

“I took the liberal view for many decades, but I believe I have changed my mind.” – David Mamet

As I discussed in my very first post here at Big Hollywood, many in the theatre world were surprised to read David Mamet’s amazing article, “Why I am No Longer A Brain-Dead Liberal” in the Village Voice.  In my post, I used the play “Oleanna” as an example of a conservative lean that I recognized in Mamet’s work when it premiered off-Broadway in 1992.  I concluded with a couple of questions: (more…)

Playbill announced that the very successful Off-Broadway play “Next Fall” will be transferring from its home at the non-profit theatre “Naked Angels” to the Helen Hayes theatre in the Spring of 2010.  In many circles this is seen as a New York success story.  A small, non-profit produces a new American play, it sells well after a glowing NY Times review and backers finance a move to the big time.  So, let’s take this play as a “teachable moment,” if you will, and let’s discover what kind of plays get transferred to Broadway.  This way, many of my readers who happen to be playwrights can also figure out a way to get their plays produced.

I always find it instructive to examine the press agent’s description of the play because the language is always carefully thought out.  The thought process is always “don’t give away too much about the play so that we reveal key plot points, and also, make sure we don’t make the theme come across as too controversial so as not to alienate potential ticket buyers.” (more…)

The National Endowment for the Arts (NEA) is always one of the hottest topics in the theatre community.  A huge amount of theatre in the US is created or presented at non-profit theatres that operate under the protection of or were first started with grants from the National Endowment for the Arts.

The latest NEA controversy broken here at Big Hollywood by Patrick Courrielche has become a fascinating Rorschach test within the theatre community.  The response has been disappointing yet predictable from the left-leaning proponents of the NEA and this administration.

Robert Mapplethorpe

To fully expose the inconsistencies and intellectually dishonest positions they have taken in their knee-jerk defense of everything Obama, we first need a little background for the Big Hollywood readers who might not remember all of the details in the recent history of controversies with regard to NEA funding in the theatre community.

NEA Primer: Now I don’t pretend to suggest that the following breakdown of the NEA struggles dating back to 1990 is a definitive or even thorough explanation of the recent history of left vs. right combat over the NEA.  I encourage all of my readers to research and read about this issue.  And, I especially want them to read the perspective of liberals/progressives/leftists who were in the middle of the struggle on the other side.  It is informative and enlightening to read how they really feel about the subject. (more…)

I’m not sad today. I’m not melancholy. I’m not remembering the first time I saw a sunset reflected off the west-facing side of the towers.  Today doesn’t elicit any of those feelings in me.

This day makes me pissed off.

And I’m not just pissed at the terrorists.  I’m pissed at the panty-waist theatre community I am a member of.

Case in point:  ”One of the first plays about Muslim life in the United States debuts in a time and place fraught with symbolism: Sept. 11th, in New York City.”

The two-act play which the playwright likens to a Muslim-American “Death of a Salesman” opens tonight at the Nuyorkian Poets Cafe, about 2 miles from ground zero. (more…)

I bet that headline got your attention!  But, as you’ll see a little later in this post, the scene in question is not really a “rape” at all.  But that didn’t keep the NY Daily News from running this headline yesterday:

‘Bye Bye Birdie’ revival on Broadway drops scene for ‘gang rape’ concern

“Just a copy editor trying to get attention by over-exaggerating a story,” you think?  That’s what I thought, too.  But here is the story with Gina Gershon’s quote: (more…)

Summer is the slow time on Broadway as theatre pros recover from their Tony Award hang-overs and try to rush out to the Island for a few days of R & R before the new season begins.  This year it seems there are a few plays aiming for early fall openings hoping to ride a crest of popularity into the always-lucrative holiday season.

Just as last season brought a record number of plays as well as stellar gross sales (despite doom-sayers in the industry) this season already looks locked and loaded with a huge number of shows scheduled to open between October 1st and the first week of May (the traditional Tony nomination cut-off).  So to help the readers of Big Hollywood plan their trip to the Great White Way (we can still say that, can’t we?), I submit the top 10 things to look for from the center/right perspective:

10.  ”Superior Donuts” – A transfer from Chicago’s Steppenwolf Theatre (one of my personal favorite regional houses in America), the play stars “Spinal Tap”’s Michael McKean as an aging hippie who owns a donut shop in a largely black neighborhood and Jon Michael Hill (do all young Broadway actors HAVE to go by three names now?) as a 21-year-old from the neighborhood who talks his way into a job at the shop.  From the New York Times review:  ”In one of the play’s most amusing exchanges Franco challenges Arthur to name 10 black poets. Arthur names a few, then stands dumb, a look of deep concentration on his face. “It’s like watching George Bush on ‘Jeopardy!’ ” Franco cracks.” (more…)