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.

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…)

Back in January you couldn’t watch any entertainment “news” show or read any Arts & Culture section of a newspaper without seeing something about the death of Broadway.  There were so many shows closing all at once that the imminent death of our industry was whined about not just from spineless actors, but from producers as well.  It was so pervasive that Saturday Night Live utilized Neil Patrick Harris’ musical theatre ability to present a skit starring the characters of popular Broadway shows having a meeting at Sardi’s to try to save the industry.

Somewhere, out in the wilderness, on the pages of Big Hollywood, there was a lone voice of reason.  A pragmatic and practical man laying out the facts for you, the ever-interested and conservative reader.  That man, one Stage Right, was shrewd enough to label the producers as “panty-waste industry folk” and explained that their propensity to panic and pull the emergency brake is partly attributed to their liberal tendencies.

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In this episode, “NewsBusted” covers: Iran’s election, European elections, Sarah Palin, David Letterman, Whoopi Goldberg, Joy Behar, Reverend Jeremiah Wright, Sonia Sotomayor, Forbes magazine, Ryan Seacreast, President Obama’s teleprompter, Bret Michaels, Tony Awards, and Chastity Bono.

I’m tempted to brag about how close I was with my Tony Award Predictions and make that the biggest story coming out of Sunday’s Tony Award Show, but instead I’ll stay humble.

From the perspective of the Broadway industry (the people and companies that represent the institution of Broadway and who work in the industry tend to think in terms of studios rather than production companies), the Shubert Organization was the big winner.  The Shuberts are the happy landlord to Best Musical winner “Billy Elliot” and Best Play winner “God of Carnage.”  The Shuberts also serve as co-producer of “God of Carnage.”

From an individual show’s perspective, certainly “Billy Elliot” was the big winner with a total of 10 awards.  One major award they didn’t win was the Best Score of a Musical that seemed like a shoe-in for Elton John.  Instead it went to Tom Kitt and Brian Yorkey for “Next to Normal” that show also won the Best Actress award for its star, Alice Ripley. (more…)

Join Gary Graham, Tim Slagle, Moxie X. Cathedra, Stage Right and many more as Big Hollywood live-blogs the West Coast feed of the Tony Awards.

Tonight, 8:00 PM Pacific Time, Telecast on CBS.

It’s often said during Oscar season that there are two sets of predictions:  Who WILL win, and who SHOULD win.  It’s the same with Broadway’s Tony Awards but I often like to add a third prediction:  What would be the best for business.  Believe it or not, often times the Tony Awards seem to take into account the shows that “need” the award for marketing purposes.  Even though one show stands out and seems to be the obvious choice to win the top prize, a surprise occurs and a David beats a Goliath thus ensuring a longer run for David.  I will list a few examples for Best Musical travesties from the past that many might quarrel with in terms of the validity of the show that won, but the commercial outcome of the shows involved can’t be argued.  You have a right to your own opinion, but not to your own facts.

1991: “Miss Saigon” has a multi-million-dollar advance, leads nominations with 11, wins Best Actor and Best Actress.  Best Musical that year?  “The Will Rogers Follies.”  Without the award, “Will Rogers” would have not made it another six months. After winning the prize, it ran for two more years, had a successful tour and might still be running in Branson, MO.  “Saigon” ran for a decade. (more…)

In what is becoming an annual rite of self-destruction, Broadway has once again chosen to snub many of the big-name stars who have put their film careers on hold to trudge onto the boards eight times a week, take a significant pay cut, and run the risk of being ridiculed for being unable to cut the mustard as a theatre actor  (As Alan Swan famously said before having to appear on live television in “My Favorite Year”:  ‘I’m not an actor, damn you, I’m a movie star!’).  This week’s announcement of nominees for Broadway’s top prize, the Tony Award, was more newsworthy for the names left off the list than for the relatively unfamiliar names singled out for the honor. 

Nathan Lane and John Goodman are selling tickets hand over fist for their revival of “Waiting for Godot” but neither received the honor of a nomination.  Same with David Hyde Pierce, Frank Langella, Mary Louise Parker and Matthew Broderick. 

It was no surprise that Jeremy Piven was included out of the Best Actor category after his famous sushi defense for missing performances in David Mamet’s “Speed-the-Plow,” but not honoring John Lithgow’s brilliant turn in “All My Sons” in the same category is a crime against humanity!  It ranks up there with the snub of Dustin Hoffman as Willy Loman in the 1984 revival of “Death of a Salesman.” Brian Dennehy was honored with the Best Actor award when he did Willy Loman in 2000, but that goodwill did not anoint him worthy of a nomination this year for his turn in “Desire Under the Elms.”  (more…)

1984’s landmark musical “Sunday in the Park with George” was one of the most polarizing and debated shows to reach Broadway in the past thirty years.  It marked Stephen Sondheim’s first collaboration outside of the watchful artistic and commercial gaze of his long-time director and producer Harold Prince.  It also served as the inspiration for a whole new genre of introspective concept musicals which are hated and loved by theatre-goers and theatre professionals alike.  (more…)

March 16 will mark the 40th anniversary of the Broadway opening of “1776.”  Written by Sherman Edwards and Peter Stone, it went on to run for 1,217 performances.  It’s hard to believe that forty years ago it was still popular to write an unabashedly patriotic musical that openly celebrated American Exceptionalism and painted the founding fathers not just as humans but as the intellectual and moral giants that they were.  Because the 1972 film version is tantamount to a filmed version of the play rather than a Hollywood re-interpretation, its original intent and form is easily accessible to today’s audience.  It deserves a good look and therefore, is this week’s Sunday Matineé.  (more…)

This week’s Sunday Matinee is dedicated to Hollywood.

Because it’s Oscar Sunday and the whole world is focused on the Kodak Theatre and the red carpet parade about to happen, it seems fitting that Broadway throws Hollywood a bone today.  Also, considering every other Broadway show these days seems to be a staged version of a popular movie, (“Shrek”, “Wedding Singer”… Really?) it seems appropriate to shine a little light on a Broadway Musical that has been adapted to film.  (more…)

There is a phenomenon known as “the Oscar bounce.” When a movie receives Academy Award nominations, especially one of the five coveted Best Picture slots, ticket-buyers generally follow. The Oscar seal of approval used to mean something to the rank-and-file moviegoer, but that seems to have changed.

Only one of this year’s Best Picture nominees has inspired any real passion from the broad public. The almost-certain Best Picture winner is Slumdog Millionaire (Fox Searchlight), and its devotees, including critics and members of the Academy (not to mention yours truly), have made it a word-of-mouth smash hit. The Danny Boyle-directed feel-good Bollywood fusion movie made for a meager $14M added another $2.05M or so on Friday and is charting a 3-day course for about $7.4M. That will give the Slumdog a $77.4M take, and it could reach $90M-$95M before it’s through in American theatres.

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Contrary to popular belief the sky is NOT falling on Broadway. Yes, about a dozen shows closed after the holidays, but up until about 15 years ago, that was the norm.  There have traditionally been three “seasons” for shows to close on Broadway:

• Right after New Years because shows cashed in on all of the tourism in New York, but then can’t survive January and February, the worst times of the year for ticket sales.
• The first week of May because that’s when the Tony nominations come out and many shows hang on to see if they get nominated, and if they don’t they’re done.
• The second week of June because that’s right after the Tony Awards, and the shows that don’t win are barely scraping by and will not sustain large enough grosses to stay in their house through the Summer.

So, the fact that many shows just closed is not historically rare.  The real indicator as to the health of the industry is how many shows are scheduled to open between now and that magic first day of May (the Tony nomination cut-off).  A quick look at the schedule over at Playbill.com shows us that no fewer than 21 shows are already scheduled, if not already on sale.  When I look at the current shows running and the schedule for new shows, it appears that by the time we hit May 1st almost every Broadway house will have had a tenant this Spring … even the Belasco… even the Brooks Atkinson!   (more…)