Written by George Eastman and directed by Karen Carpenter, the new play is set for City Center’s Stage II for a strictly limited engagement beginning previews November 18 and opening December 4.
Producer Dennis Grimaldi announced the production today.
Harry Townsend’s Last Stand follows 85-year-old Harry Townsend (Cariou), a widower, living alone in the Lakeside home he built in Vermont. While he still possesses a sharp mind and a dry wit, he is getting up there in age. Beside his daughter, Sarah, the one happiness in his life is his son, Alan (Bierko), who is finally coming home after an 18-month absence. Yet Alan’s
SEEKodi Lee (‘America’s Got Talent’) proves why he’s front-runner to win ‘Agt’ with ‘You Are The Reason’ cover in semifinals [Watch]
Julianne Hough: “Well, there is no denying that America loves Ansley Burns. You are a ray of sunshine in this sometimes gloomy world and I think that that’s why America stands behind you,
Mering has described the sound she aimed for on Titanic Rising
But as they pile up, these statements turn cryptic, contradictory, and uncertain,
The 1970 Oscar nominees in Best Original Song were:
“Whistling Away the Dark” from “Darling Lili”
“For All We Know” from “Lovers and Other Strangers”
“‘Til Love Touches Your Life” from “Madron”
“Pieces of Dreams” from “Pieces of Dreams”
“Thank You Very Much” from “Scrooge”
Won: “For All We Know” from “Lovers and Other Strangers”
Should’ve won: “Whistling Away the Dark” from “Darling Lili”
1970, the year voters embraced monumental pictures including “Patton” and “Mash” and far lesser efforts like “Airport” and “Love Story,” marked a comparably mixed bag in Best Original Song, sporting a truly grand Julie Andrews tune and respectable winner in “For All We Know,
Eight seasons in, and one thing you can’t say is that Ryan Murphy and Brad Falchuk don’t know how to reinvigorate a TV Series. Tonight’s first episode of season 8 of American Horror Story: Apocalypse titled “The End” which has largely been shrouded in secrecy (except for the fact that it’s a crossover over between season 1’s Murder House and season 3’s Coven) literally began with a bang: Nuclear missiles have decimated Hong Kong, Russia, the Baltics and more and the United States isn’t too far behind. A jarring, unnerving sequence which makes us realize just how far TV has come since 1983’s The Day After. Plus they’re some great dark zingers as Beverly Hills just can’t come to grips with the world that’s melting around them.
A kaleidoscopic portrait / exploration / celebration / etc. of Bob Dylan’s many contradictions and personas, I’m Not There isn’t the first pseudo-biopic from director Todd Haynes. His debut film, Superstar, unravels the life of singer Karen Carpenter and her eventual,
Thank you for all your questions. Some funny ones in there! I'm still trying to think about what I find most exotic - I'll get back to you on that. Thanks for all your support with my work, and it's still quite overwhelming that this is my job.
You, Stephen Lowe and Billy Ivory all feature on the Nottingham Trams. What is it about Nottingham and drama/theatre talent?
Maybe it's in the brown sauce... I think there's a lovely, humble trait that runs through Nottingham. We're a city that are incredibly proud of what we've achieved but we don't shout too loud about it. I think when people discover the talents that come out of Nottingham, it is getting bigger. But I think we'll always remain really humble.
Miguel Gomes’s wayward, opaque and sometimes dreamily erotic Arabian Nights docu-fantasy trilogy about Portugal’s austerity nightmare enters its final section, and in this episode, the on-screen intertitles – so sparing in the previous episodes – now recur almost continuously, commenting ironically or enigmatically on the action, quoting the imaginary tale, even transcribing birdsong. Gomes pulls off this asymmetric quirk as insouciantly as he does everything else. Scheherazade (Crista Alfaiate) takes centre stage, the “enchanted one” herself; we see her romantic yearnings and emotional relationship with her father. This emergence confers on her a strange, understated sort of heroism, Portugal’s warrior-queen tribune. Apart from her story, there are two tales: one about chaffinches hints at the reason why the nation’s caged bird sings; another about a lonely young
‘The Racket’ is loud, angry, and fucking hilarious. It begins with Richie taking his anger out not on his and Devon’s relationship but, at his glacially calm therapist’s suggestion, on the couch. With a tennis racket. His subsequent golden-boy claim that he’s worked out his shit is just one of the many rackets in an episode which ends with our hero seeking not catharsis but an alibi, from his estranged father no less, for Buck’s murder. Everyone’s cheating and chiseling everyone out of everything, and nobody’s in on the joke. ‘The Racket’ feels like throat-clearing from Vinyl‘s emerging voice, at once frustrated and playful, riotous and contemplative.
Lester walking into Richie’s office to burn the reel Richie put together from his old material is a good scene on its own. The man who lost
Richie wants to believe that, like Bruce Lee in Enter the Dragon, his skills amount to more than a good ear and a practiced mind. His return to the arms of addiction has him convinced that what he heard when the New York Dolls brought that building down was a sound from just behind the wall. If he can tear back the wallpaper, if he can show others how to find it, then he can keep his business and his dreams while harvesting raw new talent and keeping rock ‘n roll alive. It’s a plan dredged up from the asbestos-suffused wreckage of the collapse he survived, and as he executes karate chops and wild yells in a darkened movie theater it becomes apparent exactly how reverent Vinyl is going to be toward the hallowed art of rock ‘n roll.
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