While it may seem massive, La La Land is a pretty tight-knit community (figuratively and literally). In Hollywood everyone knows each other, and not just by an acquaintance, some also by family ties.
27.01.2022 - 05:11 / deadline.com
In the most cramped of times – days as economically and emotionally pinched as the ones we’re living through now, and the ones we survived (or didn’t) in 2008 – theater can remind us of, or point the way to, some sense of emotional generosity, of expansive spirit, of connection. Dominique Morisseau’s Skeleton Crew does all that and more, finding hope in the unlikeliest of places, like a cluttered, ramshackle break room of a noisy, about-to-fail factory in an about-to-fail city like Detroit.
Directed with vitality by Ruben Santiago-Hudson – his second victory this Broadway season following the fall’s Lackawanna Blues – and performed by an ensemble cast that matches a powerful Phylicia Rashad, Skeleton Crew is a play that feels even more pertinent now than it did when it landed in a stellar Off Broadway production back in 2016. The play was terrific then. It’s essential now.
Opening tonight at the Samuel J. Friedman Theatre, this Manhattan Theatre Club presentation examines the barriers and restrictions that pit worker against worker, life against life. The play asks what the individual owes the community, and what the community owes in return. How much should any one person be willing to sacrifice for the sake of her co-workers? Her friends? Her successors? – Skeleton Crew makes as fine and eloquent a case for camaraderie, social responsibility, and common decency as any play currently on stage. It is a tonic.
Don’t misunderstand. Morisseau hasn’t patched together a sentimental feel-good booster shot. Skeleton Crew can be tough as a factory foreman. Characters walk fearfully tight wires, and plunges are an ever-present possibility. We arrive at the end with hope, not assurance.
The set-up is classic American theater, with
While it may seem massive, La La Land is a pretty tight-knit community (figuratively and literally). In Hollywood everyone knows each other, and not just by an acquaintance, some also by family ties.
Emily Longeretta Trevor Donovan and producer Brian Bird have teamed up to create a series of “edutainment”-style films via Birds’ production company True Brand Entertainment, Variety has learned exclusively.These films will be in the tradition of the popular “after school specials,” which became staples of American pop culture. The projects will explore many struggles teenagers and young adults are facing today, including substance abuse, equality, bullying and inclusion issues.“These scripted narratives will be fun and humorous presentations of contemporary issues which inspire and uplift, just as they did in the original series,” says Donovan, who rose to fame on “90210,” playing the show’s only LGBTQI+ series regular character.
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Selome Hailu Apple TV Plus has greenlit “Mrs. American Pie,” a new comedy series starring Kristen Wiig. Laura Dern executive produces and is eyeing a key role.Set in the early ‘70s, “Mrs.
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Netflix is heading into the world of Taipei gangsters.
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The Sundance Film Festival is revealing award winners for its 2022 edition on Friday afternoon beginning at 2 p.m. PT. Like the rest of this year’s festival, which was forced to go all-virtual because of the recent Omicron surge, the awards ceremony is playing out on Twitter.
Wilson Chapman editorPresident Joe Biden will be one of many guests for the upcoming primetime special “Celebrating Betty White: America’s Golden Girl,” NBC announced Thursday.The special, a tribute to the iconic comedic actress Betty White, will feature a taped tribute from Biden commemorating the late White, who passed away last December. NBC also announced several other stars who will appear in the special, including: Drew Barrymore, Valerie Bertinelli, Cher, Bryan Cranston, Ted Danson, Ellen DeGeneres, Jimmy Fallon, Tina Fey, Ana Gasteyer, Goldie Hawn, Vicki Lawrence, Jane Leeves, Jay Leno, Anthony Mackie, Wendie Malick, Joel McHale, Tracy Morgan, Jean Smart and Mary Steenburgen.
Michael Appler On Broadway Wednesday evening, “Skeleton Crew,” the final of seven new plays written by Black playwrights to make its debut this season, opened to an intimate crowd at the Manhattan Theatre Club’s Friedman Theatre. The show was embraced by an audience that included Danielle Brooks, Denée Benton and La Chanze but stripped, like the factory it depicts, of the usual pomp and circumstance of a flashy Broadway opening.“Skeleton Crew,” the third work in Dominique Morisseau’s trilogy of Detroit-based plays, finds five workers at a Michigan auto factory — dogged by a corroding city around them, the unfeeling unpredictability of their employers and the looming devastation of joblessness as their workplace, the last of the city’s independent auto factories, inevitably closes.