The 2023-24 theater season at Los Angeles’ Mark Taper Forum will be halted in July due to what its operators are calling the aftereffects of the Covid pandemic, an economic “crisis unlike any other in our fifty-six-year history.”
In a statement, Center Theatre Group, which operates the Taper as well as the Ahmanson and Kirk Douglas venues, said that the pause in programming at the Taper will include the postponement of the world premiere of Fake It Until You Make It by Larissa FastHorse and the cancelation of the previously announced tour stop of Cambodian Rock Band by Lauren Yee.
“Pausing season programming at the Taper is a difficult but necessary decision that will impact artists and audiences,” the Ctg statement says, adding that the move “is particularly painful for the talented and committed Ctg staff who have dedicated so much to bringing great theatre to L.A.”
According to Ctg,...
In a statement, Center Theatre Group, which operates the Taper as well as the Ahmanson and Kirk Douglas venues, said that the pause in programming at the Taper will include the postponement of the world premiere of Fake It Until You Make It by Larissa FastHorse and the cancelation of the previously announced tour stop of Cambodian Rock Band by Lauren Yee.
“Pausing season programming at the Taper is a difficult but necessary decision that will impact artists and audiences,” the Ctg statement says, adding that the move “is particularly painful for the talented and committed Ctg staff who have dedicated so much to bringing great theatre to L.A.”
According to Ctg,...
- 6/16/2023
- by Greg Evans
- Deadline Film + TV
Glynn Turman plays Toledo in the new film, “Ma Rainey’s Black Bottom,” a role he previously played on stage. The veteran actor just earned his first Screen Actors Guild Award nomination as part of the cast of the film, following an individual win from the Los Angeles Film Critics Association.
Turman recently spoke with Gold Derby contributing writer Sam Eckmann about translating his performance in “Ma Rainey” from stage to screen, working alongside the late Chadwick Boseman and his other notable work this season on “Fargo.” Watch the exclusive interview above and read the complete transcript below.
SEERuben Santiago-Hudson interview: ‘Ma Rainey’s Black Bottom’ writer
Gold Derby: What was interesting to me, watching your performance in “Ma Rainey’s Black Bottom,” is it’s not the first time you’ve actually played Toledo. You’ve done that on stage in the Mark Taper Forum. So did you feel like when you...
Turman recently spoke with Gold Derby contributing writer Sam Eckmann about translating his performance in “Ma Rainey” from stage to screen, working alongside the late Chadwick Boseman and his other notable work this season on “Fargo.” Watch the exclusive interview above and read the complete transcript below.
SEERuben Santiago-Hudson interview: ‘Ma Rainey’s Black Bottom’ writer
Gold Derby: What was interesting to me, watching your performance in “Ma Rainey’s Black Bottom,” is it’s not the first time you’ve actually played Toledo. You’ve done that on stage in the Mark Taper Forum. So did you feel like when you...
- 2/19/2021
- by Kevin Jacobsen
- Gold Derby
The Dream Builders Project is hosting their biennial ‘A Brighter Future for Children’ Charity Gala & Poker Tournament to benefit the Mark Taper-Johnny Mercer Artists Program at Children’s Hospital Los Angeles on September 26, 2019 in Hollywood, CA.
The program provides a unique opportunity for patients to express their creativity and emotions through art and music during their stay at Children’s Hospital Los Angeles. 100% of the net proceeds from the gala will directly benefit the program so that they can continue their impactful work, changing the lives of children at the hospital.
Among the stars confirmed to attend are Shanna Moakler, Don Cheadle, Loni Love, Eric Roberts and many more.
You can find event tickets, poker buy ins and VIP tickets via eventbrite: www.BFFC2019.eventbrite.com.
From: http://www.looktothestars.org/news/19244-dream-builders-project-to-host-a-brighter-future-for-children-charity-gala-and-poker-tournament
Related past articles Stars To Attend 6th Annual Tower Cancer Research Foundation Cancer Free Generation Celebrity...
The program provides a unique opportunity for patients to express their creativity and emotions through art and music during their stay at Children’s Hospital Los Angeles. 100% of the net proceeds from the gala will directly benefit the program so that they can continue their impactful work, changing the lives of children at the hospital.
Among the stars confirmed to attend are Shanna Moakler, Don Cheadle, Loni Love, Eric Roberts and many more.
You can find event tickets, poker buy ins and VIP tickets via eventbrite: www.BFFC2019.eventbrite.com.
From: http://www.looktothestars.org/news/19244-dream-builders-project-to-host-a-brighter-future-for-children-charity-gala-and-poker-tournament
Related past articles Stars To Attend 6th Annual Tower Cancer Research Foundation Cancer Free Generation Celebrity...
- 8/28/2019
- Look to the Stars
John Irving's sixth and finest novel, "The Cider House Rules", is one of those resonant, inventive works of literature that persistently works against being reconfigured for the movies. Lasse Hallstrom is a fine director, and Irving has adapted his own novel, but their resulting collaboration is deeply flawed. It is neither the novel nor a satisfying alternative to the novel but rather bits and pieces imperfectly strung together.
Premiering in competition here before playing at the Toronto International Film Festival in preparation for its highly touted December opening, the movie is certainly not an embarrassment, but the incandescent prose -- a freewheeling mixture of social portrait, outrageous incident and scabrous commentary -- has been lost in its transfer to the screen. The edges have been dulled, made more palatable for mainstream audiences.
The stylistic audacity of the novel -- the loopy structure, the Nabakovian wordplay -- jumps off the page, but Hallstrom would have to be Orson Welles to vivify that prose on screen. With its intriguing cast, strong production values and the full marketing weight of Miramax, the movie will make an impression, but the varying tone, leisurely pace and difficult material don't augur a long life in theaters.
The best passages are in the first third, set during World War II in the snowbound, brooding Maine landscape. It's the site of St. Cloud's orphanage, a holding ground for unwanted children where its top administrator and only doctor, Wilbur Larch (Michael Caine), performs illegal abortions. The initial story establishes the deeply elemental, paternalistic affection Larch holds for Homer (Tobey Maguire), a twice-adopted, twice-returned child who becomes Larch's aide-de-camp. An ostensible doctor despite never even entering high school, Homer naturally begins to feel claustrophobic and unfulfilled staying at the orphanage and begins avidly seeking out new experiences.
Saved from induction because of his defective heart, Homer gets his chance to escape when a beautiful young woman, Candy (Charlize Theron), and her boyfriend, Wally (Paul Rudd), an Air Force pilot, turn up at St. Cloud to terminate her unwanted pregnancy. Homer leaves with them and takes a job working Wally's family farm as an apple picker. Wally's understated grace and empathy allow him to quickly insinuate himself into the lives of the black migrant workers, headed by Mr. Rose (the superb Delroy Lindo) and his daughter, Rose (Erykah Badu). The book is much more forceful on 1940s racism; the film never even touches on the subject. More problematic, the movie begins to tell separate stories, grounding Homer's story as a coming-of-age tale against the bleak realities of St. Cloud, which the state board of health is threatening to close unless Larch brings in additional medical personnel.
Dramatically, the story loses momentum. Worse yet, it becomes inert and closed off. With Wally stationed in the Pacific theater, Homer is finally free to consummate his deep attraction to Candy. But their scenes don't have any electricity or heft between the pair. Theron is constantly being summoned up in magazines as "the next great thing," but she is a curiously remote, opaque performer whose absence of expression denies a fuller emotional investment.
In the other dominant sections -- Homer's relationship with the migrant workers -- the necessary cutting and reshaping of the novel obliterates the development of the personal relationships and drops key events, so a devastating turn in the narrative seems patently unreal and dramatically unmotivated.
When the landmark theater production of "Cider House" opened at L.A.'s Mark Taper Forum last year, the running time was eight hours. As obvious as that kind of length is commercially impossible here, that appears to be the only way to adequately convey the peculiar interior logic, narrative depth and brilliance of the novel.
Hallstrom's American films have outlined his strengths and weaknesses, his ability to conjure up community and culture, an affinity for unorthodox characters and offhanded narrative structures, but all four of the American-made movies suffer from a detached outsider perspective that comments on the action without ever fully getting inside the material. There are some haunting images here -- Candy and Homer alone in a deserted drive-in theater, an imperiled boy entrapped in a special breathing apparatus -- but the incidental detail, the ecstatic flow of language are lost.
Technically, Oliver Stapleton's impressionistic photography is the film's finest, most assured element. Unfortunately, Rachel Portman's score is inflated and overscaled, and Hallstrom relies on it much too frequently to overwhelm the audience.
THE CIDER HOUSE RULES
Miramax International
Film Colony
Producer: Richard N. Gladstein
Director: Lasse Hallstrom
Writer: John Irving
Based on the novel by: John Irving
Director of photography: Oliver Stapleton
Editor: Lisa Zeno Churgin
Costume designer: Renee Ehrlich Kalfus
Production designer: David Gropman
Music: Rachel Portman
Cast:
Homer: Tobey Maguire
Candy: Charlize Theron
Dr. Wilbur Larch: Michael Caine
Wally Worthington: Paul Rudd
Mr. Rose: Delroy Lindo
Rose Rose: Erykah Badu
Nurse Angela: Kathy Baker
Buster: Kieran Culkin
Running time -- 134 minutes
No MPAA rating...
Premiering in competition here before playing at the Toronto International Film Festival in preparation for its highly touted December opening, the movie is certainly not an embarrassment, but the incandescent prose -- a freewheeling mixture of social portrait, outrageous incident and scabrous commentary -- has been lost in its transfer to the screen. The edges have been dulled, made more palatable for mainstream audiences.
The stylistic audacity of the novel -- the loopy structure, the Nabakovian wordplay -- jumps off the page, but Hallstrom would have to be Orson Welles to vivify that prose on screen. With its intriguing cast, strong production values and the full marketing weight of Miramax, the movie will make an impression, but the varying tone, leisurely pace and difficult material don't augur a long life in theaters.
The best passages are in the first third, set during World War II in the snowbound, brooding Maine landscape. It's the site of St. Cloud's orphanage, a holding ground for unwanted children where its top administrator and only doctor, Wilbur Larch (Michael Caine), performs illegal abortions. The initial story establishes the deeply elemental, paternalistic affection Larch holds for Homer (Tobey Maguire), a twice-adopted, twice-returned child who becomes Larch's aide-de-camp. An ostensible doctor despite never even entering high school, Homer naturally begins to feel claustrophobic and unfulfilled staying at the orphanage and begins avidly seeking out new experiences.
Saved from induction because of his defective heart, Homer gets his chance to escape when a beautiful young woman, Candy (Charlize Theron), and her boyfriend, Wally (Paul Rudd), an Air Force pilot, turn up at St. Cloud to terminate her unwanted pregnancy. Homer leaves with them and takes a job working Wally's family farm as an apple picker. Wally's understated grace and empathy allow him to quickly insinuate himself into the lives of the black migrant workers, headed by Mr. Rose (the superb Delroy Lindo) and his daughter, Rose (Erykah Badu). The book is much more forceful on 1940s racism; the film never even touches on the subject. More problematic, the movie begins to tell separate stories, grounding Homer's story as a coming-of-age tale against the bleak realities of St. Cloud, which the state board of health is threatening to close unless Larch brings in additional medical personnel.
Dramatically, the story loses momentum. Worse yet, it becomes inert and closed off. With Wally stationed in the Pacific theater, Homer is finally free to consummate his deep attraction to Candy. But their scenes don't have any electricity or heft between the pair. Theron is constantly being summoned up in magazines as "the next great thing," but she is a curiously remote, opaque performer whose absence of expression denies a fuller emotional investment.
In the other dominant sections -- Homer's relationship with the migrant workers -- the necessary cutting and reshaping of the novel obliterates the development of the personal relationships and drops key events, so a devastating turn in the narrative seems patently unreal and dramatically unmotivated.
When the landmark theater production of "Cider House" opened at L.A.'s Mark Taper Forum last year, the running time was eight hours. As obvious as that kind of length is commercially impossible here, that appears to be the only way to adequately convey the peculiar interior logic, narrative depth and brilliance of the novel.
Hallstrom's American films have outlined his strengths and weaknesses, his ability to conjure up community and culture, an affinity for unorthodox characters and offhanded narrative structures, but all four of the American-made movies suffer from a detached outsider perspective that comments on the action without ever fully getting inside the material. There are some haunting images here -- Candy and Homer alone in a deserted drive-in theater, an imperiled boy entrapped in a special breathing apparatus -- but the incidental detail, the ecstatic flow of language are lost.
Technically, Oliver Stapleton's impressionistic photography is the film's finest, most assured element. Unfortunately, Rachel Portman's score is inflated and overscaled, and Hallstrom relies on it much too frequently to overwhelm the audience.
THE CIDER HOUSE RULES
Miramax International
Film Colony
Producer: Richard N. Gladstein
Director: Lasse Hallstrom
Writer: John Irving
Based on the novel by: John Irving
Director of photography: Oliver Stapleton
Editor: Lisa Zeno Churgin
Costume designer: Renee Ehrlich Kalfus
Production designer: David Gropman
Music: Rachel Portman
Cast:
Homer: Tobey Maguire
Candy: Charlize Theron
Dr. Wilbur Larch: Michael Caine
Wally Worthington: Paul Rudd
Mr. Rose: Delroy Lindo
Rose Rose: Erykah Badu
Nurse Angela: Kathy Baker
Buster: Kieran Culkin
Running time -- 134 minutes
No MPAA rating...
- 7/20/2004
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.