There’s no denying Nicole Scherzinger’s beauty and talent, so it absolutely confounds me that she’s been unable to find her career-defining role. I can only assume the issue is poor management, as she’s been more obsessed with talent shows than actually making art on her own. So when Andrew Lloyd Webber revealed that she opted out of Cats on Broadway to take a spot on X Factor, I was not surprised. Nicole shrewdly treated the controversy with a casual yet respectful response, saying, “I had every intention of doing Cats on Broadway but the contract was never finalized. I am incredibly blessed to be given so many amazing opportunities, including Cats, but unfortunately we weren’t able to make it work this time around.” Translation? X Factor made me a better offer just in time. But is it a better offer? How many shows can the former Pussycat Doll play judge before she produces something that justifies her throne? This was a huge mistake, and if she were actually interested in art rather than a paycheck and prowess, she’d have chosen Cats.
When people ask me if I’m a “writer,” I always say no. I tell them I’m “aspiring.” The reason? Every so often I read articles like the one Alec Baldwin just wrote for Huffington Post, and it’s confirmed that I have a lot of work to do before I get there. Baldwin wrote an open letter to Charlie Sheen, and it’s brilliant. He told Sheen to “beg for his job back,” and he shared a very personal anecdote that illustrated his own frustrations with the entertainment industry. When I studied film in college, my professor actually discussed this story about Baldwin, and he told the class that Baldwin turned down the opportunity to star in the sequels to The Hunt for Red October, because he wanted to star in A Streetcar Named Desire on Broadway in hopes that it would solidify his status as an A-list actor. My professor said it’s considered one of the greatest blunders in Hollywood history. After reading Alec Baldwin’s recanting of what really happened, I’m convinced that Baldwin would kill my professor. It turns out the the movie studio (Paramount) was negotiating simultaneous deals with Alec Baldwin and another A-list actor for the same part, thus breaking the law. The movie studio owed this unnamed actor money for a previous deal that fell apart, and casting him in Alec’s role would not only save them money, but potentially help their film by casting someone who’s a bigger box-office draw. The studio knew Alec wanted to star in the play, and they insisted that the production schedule could not accommodate Baldwin. The implication from Baldwin’s letter is that the studio played hard-ball in hopes that Alec would drop out so they could employ the other actor. If that’s true, it worked. So what’s the thesis of Baldwin’s lesson? “You can’t win,” and “no actor is greater than the show itself when the show is a hit.” He therefore thinks Sheen should “sober up,” “get back on TV” and “buy John Cryer a really nice car.”
The Actors Equity Association investigated the recent Spiderman injury and determined that it was due to an error on the stage crew’s part. Is this supposed to make anyone feel better? The outrage surrounding the highly dangerous show, is that it’s open to human error. That’s the point. It should be safe enough to where a crew member’s mistake won’t result in someone’s death. Broadway previews are supposed to be about tweaking the small stuff — not figuring out how to keep your actors alive. To quote the very elequent Rent star, Adam Pascal, “I hope whoever was hurt is ok and sues the shit out of Julie Taymor, Bono, Edge and every other asshole who invested in that steaming pile of actor crippling shit!”
Jennifer Grey got a visit from a very famous guy on tonight’s Dancing With the Stars — her father. Joel Grey is most known as the original Master of Ceremonies in Cabaret. Grey has won an Oscar, a Tony, and a Golden Globe for Cabaret, and he’s considered a Broadway legend. Watch his appearance below, and click the link to see him perform a scene from Caberet.
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