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An Actor's New York

March, 2004

March, 2004, NEW YORK CITY - To a theater lover, New York is the proverbial candy store of a delighted child. The happy dilemma is "what to see and what show has seats available." February is usually a slow month for Broadway theaters so the chances are good. And, for the child I always seem to become when I'm in New York, my luck was with me. I was able to get great seats for some wonderful shows - two musicals and two dramas.

"Fiddler on the Roof" is a musical I saw ages ago starring the great Zero Mostel. It was an unforgettable performance in a transportingly moving production. The revival of "Fiddler," this time starring Alfred Molina as Tevye, was wonderful. The music, especially, "Sunrise, Sunset," was as moving as I had always remembered it. The choreography by Jerome Robbins was as lively a copy of the original as I had seen. It did not, however, replace my still glowing memory of the first production. The key is the central performance - the role of Tevye. Zero Mostel's was both bigger than life and, at the same time, so achingly human. You truly believed that he had conversations with God. Mostel's Tevye had that rare quality called soul. Alfred Molina turned in a fine performance in the current revival, but the ghost of Zero Mostel's Tevye always seemed to be hovering over him.

The other musical I caught was "The Boy from Oz" about the life, the music, and the struggles of the flamboyantly gay Australian musical performer, Peter Allen. This, unlike the revival of "Fiddler," was a production where the star was the whole show. Hugh Jackman as Peter Allen was a dazzling dynamo that compelled audience attention and commanded center stage. He sang, he danced, and he was Peter Allen. What a brilliant theater talent he is! He was so completely the glitzy Peter Allen that it was hard to ever imagine him as Wolverine in the movie "X-Men." Yet, he was! Stunningly so! Reading the program bio, I learned that he had also won Britain's Olivier award playing the quintessential American cowboy, Curley, in Britain's National Theater production of "Oklahoma" in London as well as Australia's top theater award as Joe Gillis in the Australian production of "Sunset Boulevard." "The Boy from Oz" is a musical that belongs to Hugh Jackman as much as "Fiddler on the Roof" still belongs to Zero Mostel.

All the plays I saw this trip were ones in which the actors made the show. The actors were the reason for the play's success. And the most luminous performance of all was that by an artist named Jefferson Mays. He was the entire cast in a one-man drama titled, "I Am My Own Wife" about the harrowing life of a transvestite during the years of Nazi domination of Germany. It was a virtuoso performance that combined voice, movement, and body with dramatic imagination. Mays became the very embodiment of a man living in a woman's body with dignity, resilience, and the wit of a survivor. He made a complex and unusual character touchingly human and, indeed, inspiring. Jefferson Mays' performance was a consummate demonstration of the actor's craft.

The final play I saw was one of my favorites and a classic of American theater, Tennessee Williams' "Cat on a Hot Tin Roof." On the marquee was an all-star cast, Ashley Judd, Jason Patrick, and Ned Beatty as Big Daddy. Two performers shone in this starry production - Jason Patrick and Ned Beatty. Tennessee Williams' plays always contrast opposites: the strong and the weak, the sensitive and the brutal, the beautiful and the vile.

Jason Patrick as Brick, the ex-football hero now a deeply troubled and perhaps homosexual husband of a desperate wife and Ned Beatty as his coarse, powerful, and determined father are the opposites here. One is the sensitive soul and the other is the brute. Yet, both Patrick and Beatty suggest the complexities in their characters. Patrick's Brick has a tensile core of strength and Beatty's Big Daddy reveals his hidden dread of mortality. Theirs were richly textured, deeply felt performances that should be candidates for Tony award consideration in a few months. It was disappointing that Ashley Judd couldn't rise to the level set by her two fine colleagues. Nevertheless, "Cat on a Hot Tin Roof" was a production that had me on my feet shouting "bravo, bravo, bravo," as the actors took their curtain call. Broadway can be proud to have this American classic back on the boards.

I left New York exhilarated. "The play's the thing," Shakespeare wrote. But it is still brilliant actors that make the play.

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Katy Perry, P!nk, Paul McCartney And More Sign Letter Threatening To Boycott SiriusXM Radio
Photos by John Shearer-Direct Management-Christopher Polk-Gary Gershoff-WireImage

Hundreds of artists have signed a letter threatening a boycott if SiriusXM's parent company, Liberty Media, doesn't back down from opposing the Music Modernization Act.

The act, which was expected to pass through Congress, streamlines royalty payments in the new age of digital technology, but it seems SiriusXM is objecting to a small section that would have the satellite radio company paying royalties on recordings dating before 1972.

That's a whole lot of songs and a whole lot of money the company is hoping to skip out on paying, but not if stars like Paul McCartney, P!nk, Stevie Nicks, Sia, Carly Simon, Gloria Estefan, Mick Fleetwood, Don Henley, Max Martin, and Katy Perry can help it.

The letter read, in part:

I'm writing you with grave concern about SiriusXM's opposition to the Music Modernization Act (Classics Act included).

We are all aware of your company's objections and trepidation but let me say that this is an opportunity for SiriusXM to take a leadership position. As you are aware, 415 Representatives and 76 Senators have already cosponsored the MMA along with industry consensus. It's SiriusXM vs all of us. We can either fight to the bitter end or celebrate this victory together. Rather than watch bad press and ill will pile up against SiriusXM, why not come out supporting the most consequential music legislation in 109 years? We do not want to fight and boycott your company but we will as we have other opponents. Stand with us! Be brave and take credit for being the heroes who helped the MMA become historic law! Momentum is building against SiriusXM and you still have an opportunity to come out on the right side of history. We look forward to your endorsement but the fire is burning and only you can put this out.

SiriusXM resoponded with a letter of their own:

Over the past several weeks, we have been the subject of some stinging attacks from the music community and artists regarding our views on the Music Modernization Act. Contrary to new reports and letters, this is really not about a SiriusXM victory, but implementing some simple, reasonable and straightforward amendments to MMA. There is nothing in our "asks" that gut the MMA or kills the Act. So let's talk about the substance of the amendments we propose, because we truly do not understand the objections or why these concepts have incited such a holy war.ontrary to the accusations, SiriusXM has proposed three simple amendments to the MMA.

First, SiriusXM has asked that the CLASSICS Act recognize that it has already licensed all of the pre-1972 works it uses. This amendment would ensure that artists – the people who are supposed to be at the heart of the MMA – receive 50% of the monies under those existing licenses. Is that unfair? Just today, Neil Diamond wrote in the LA Times that: "I receive a small amount of songwriting royalties, but no royalties as the recording artist." How can that happen? To date, SiriusXM has paid nearly $250 million dollars in pre-'72 royalties to the record labels. We want to make sure that a fair share of the monies we have paid, and will pay, under these licenses gets to performers. Without this provision, artists may never see any of the money SiriusXM paid, and will pay, for the use of pre-1972 works. Artists not getting paid hurts our business!

Second, Sirius XM thinks that the fair standard to use in rate setting proceedings is the standard that Congress chose in 1995 and confirmed again in 1998 – which is called the 801(b) standard. However, we are willing to move the "willing buyer/willing seller" standard contained in the MMA. In exchange, we have asked for the same concession that the MMA grants to other digital music services, but we were left out of — simply that the rates that were set last year for five years now apply for ten years. We thought this was a fair compromise when we read the "new" MMA that was released this weekend by the Senate, and are willing to live by that compromise.

Third, SiriusXM is asking the simple question: "Why are we changing the rate court evidence standard for musical compositions in this legislation so that it gives another advantage to broadcasters over satellite radio and streaming services?" There is no policy rationale for this change to tilt the playing field further in their favor, and frankly no one has been able to explain it to us. It is only fair that we debate why the change to Section 114(i) is in the MMA.

Did you all catch that? It sounds like lawyer speak for "we don't really want to say where we stand."

media.giphy.com

It seems all the letters were for naught. The Music Modernization Act passed in the U.S. Senate.




It was time to celebrate and dance in the streets.









As the saying goes, honest pay for honest work.

media.giphy.com


H/T: Variety, Spin

Some Residents Of Uranus, Missouri Are Not Happy About The Name Of Their New Local Newspaper 😆
CBS Philly/YouTube, @ShirtlessKirk/Twitter

There's nothing like a good pun about human anatomy. Really gets the juices flowing!


Owners of the new Uranus Examiner must have been snickering as they announced the paper's name. Apparently, it's caused quite the controversy in the small town of Uranus, Missouri, over the last few days.

Residents are divided over whether the pun is an embarrassment or perfectly snarky:


Folks on the internet responded with maturity and composure after learning about the Uranus Examiner.

Oh, wait. No they didn't.





If you think about it... there might actually be a method to the madness here. The brand new paper's name has received widespread media coverage over this past week. Simply put... everyone's talking about Uranus.

In terms of publicizing their new venture, the owners of the Uranus Examiner have actually done a pretty sweet job!


In the video above, a woman suggests the paper should have been called "The Pulaski County Examiner."

If you ask me, that's TOTALLY BORING, and wouldn't have generated as much interest and publicity for the paper. So while the name might be cringeworthy to some, you can bet Uranus that it'll stick around. Who knows, Uranus might even grow as a result!

H/T: Indy100, The Kansas City Star