Tony Award-winning Broadway press agent Shirley Herz has died at the age of 87. She passed away at Mount Sinai Hospital in New York on Sunday (11Aug13) following complications arising from a stroke she suffered last month (Jul13), according to her representative Kevin P. McAnarney.
During a career which spanned almost 65 years, Herz publicised hundreds of successful Broadway and off-Broadway production as well as films and TV shows.
Notable highlights include the original productions of La Cage aux Folles, The Goat, or Who Is Sylvia? and Dancing at Lughnasa, as well as the 1989 revival of Gypsy and the 2005 revival of Who's Afraid of Virginia Woolf?
She was presented with a special Tony Award for Excellence in the Theatre at the 63rd annual Tony Awards ceremony in 2009.
Herz is survived by her husband, Herbert Boley, whom she married in 1948.
Matthew Mcconaughey's 2011 movie Killer Joe is set for a run on Broadway. Tracy Letts' drama about a Texan police detective-turned-hitman will hit the New York stage next year (14).
Letts, who also wrote Pulitzer Prize-winning play August: Osage County, will reunite with director Pam MacKinnon for the Broadway show.
The duo worked together on the revival of Who's Afraid of Virginia Woolf? which earned both of them 2013 Tony Awards.
Killer Joe was previously produced off-Broadway in 1998 with a cast which included The Silence of the Lambs' Scott Glenn and Man of Steel star Michael Shannon.
A rare first edition of T.S. Eliot's epic poem The Waste Land that was donated to a charity book shop has sold at auction for $7,000 (£4,500). The book was donated to Oxfam's Turl Street branch in Oxford, England and was expected to go under the hammer for between $3,100 (£2,000) and $4,650 (£3,000).
The tome dates from 1923, when it was published by Eliot's friends Leonard and Virginia Woolf.
Broadway hit Matilda has picked up steam ahead of the Tony Awards next month (Jun13) by scooping five top prizes at the 2013 Drama Desk Awards on Sunday (19May13). Matilda will be one of the frontrunners at the prestigious Tonys with 13 nominations, and the family-friendly show proved a favourite at the 58th annual Drama Desk Awards, which celebrate the best in New York theatre.
The show nabbed the coveted Outstanding Musical trophy, Outstanding Featured Actor in a Musical for Bertie Carvel, as well as honours for best book, lyrics and set design.
Hollywood stars Tom Hanks (Lucky Guy) and Nathan Lane (The Nance) missed out on winning the Outstanding Actor in a Play prize, which went to Tracy Letts for Edward Albee's Who's Afraid of Virginia Woolf?, while Cicely Tyson was named Outstanding Actress for The Trip to Bountiful, seeing off competition from Vanessa Redgrave (The Revisionist).
Vanya and Sonia and Masha and Spike was crowned Outstanding Play at the ceremony, held at Town Hall in Manhattan.
Actor Nathan Lane saw off competition from stars including Alec Baldwin, Tom Hanks and Jake Gyllenhaal to land the top honour at the New York Drama League Awards on Friday (17May13). Bette Midler, Vanessa Williams, Edie Falco and Alan Cumming were also in the running for the Distinguished Performance prize, but it was Lane's turn in Douglas Carter Beane's burlesque drama The Nance which bagged him the prestigious accolade.
Cyndi Lauper added another award to her collection for Kinky Boots, which was named Distinguished Production of a Musical, while Distinguished Revival of a Musical went to Pippin.
Distinguished Play was bestowed upon Vanya and Sonia and Masha and Spike, and Who's Afraid of Virginia Woolf? landed the Distinguished Revival of a Play honour.
Bernadette Peters walked away with the Distinguished Achievement in Musical Theatre trophy and Jerry Mitchell received the Founders Award for Excellence in Directing during the ceremony, which was held at the Marriott Marquis Times Square.
The New York Drama League Awards celebrate the best in Broadway and Off Broadway and are voted for by the public.
Nicole Kidman's turn in West End play The Blue Room proved to be one of the luckiest moves of her career - she landed her roles in Moulin Rouge! and The Hours during her stint on stage. The Australian actress' turn in the 1998 Sam Mendes-directed production was a critical and commercial hit, and brought her to the attention of Stephen Daldry, who cast her as Virginia Woolf in The Hours, the film which won Kidman a Best Actress Oscar.
The role wasn't the only sought-after part Kidman won during the play's run - Baz Luhrmann asked her to play showgirl Satine in Moulin Rouge! as well.
She tells Britain's Daily Mail, "Baz sent me red roses when I was at the Donmar in The Blue Room. They were exquisite, and the note read: 'You're my Satine.'
"I was very excited, but I still had to audition for him. I think it had to do with the singing. He wanted to be sure I could sing the part!
"The Blue Room was very good for me because I got to work with Baz on Moulin Rouge! and Stephen Daldry cast me in The Hours after seeing me in the play and I won the Oscar for that."
Hit Broadway musicals Pippin and Kinky Boots have dominated the 2013 Outer Critics Circle Awards after landing a handful of top prizes. Pippin, about a young prince's search for the meaning of life, won Outstanding Revival of a Musical, Outstanding Featured Actor and Actress (Terrence Mann and Andrea Martin) and Outstanding Director of a Musical (Diane Paulus).
Patina Miller took home the title of Outstanding Actress in a Musical and the production also nabbed trophies for lighting and choreography achievement.
Cyndi Lauper's Kinky Boots, based on a 2005 film of the same name, earned mentions for Outstanding New Broadway Musical, Outstanding New Score and Outstanding Actor in a Musical (Billy Porter).
Other winners included Sigourney Weaver's Vanya and Sonia and Masha and Spike, which was crowned Outstanding New Broadway Play, Who's Afraid of Virginia Woolf?, which picked up Outstanding Revival of a Play, and Matilda the Musical, which earned an accolade for Outstanding Book of a Musical.
Meanwhile, Tom Sturridge was named Outstanding Featured Actor in a Play (Orphans) and Outstanding Actor in a Play went to Nathan Lane (The Nance).
The winners, chosen by members of the media, will be celebrated during the 63rd annual ceremony in New York on 23 May (13).
I have a confession to make: I was worried that the season finale of The Following would be too good. That's weird, right? To be concerned that a show so egregiously and aggressively bad in the bulk of its fifteen-episode first season would suddenly change tack and provide a satisfying hour of television? But you set higher expectations for season finales. The Walking Dead, in its first two seasons anyway, offered practically no reason to watch outside of its bookends. Solid premiere, crappy episodes to follow, solid finale. A crap sandwich! To think that the The Following would…follow (last one 'til fall!) that model made sense. But then this little show of ours -- which is of course a pretty BIG show for FOX, and will be back next year -- assured me this would NOT be the case last night. Hell, I knew it as soon as that kid took off his Poe mask in front of the police station: The Following season finale would be just as craptastic as all the episodes preceding it. For the sake of these recaps? I don't even know what I would have done if it had been okay. Thank GOD things turned out the way they did.
Let's rewind a second and remember where we left off after our penultimate chapter: - Parker had been captured by some Followers and buried alive ala Ryan Reynolds in the movie Buried or Uma Thurman in Kill Bill, Vol. 2, but without the benefit of being the main character of her story. - After she shivved him with a fork, thus turning the Hannibal Lecter cannibal trope completely upside-down, Joe absconded with Claire on a boat. Where to? NO ONE KNEW. - And just in case this comes up: Hardy's ex-girlfriend was still out there, still salivating at the prospect of writing Joe's "final chapter."
You guys good? You need to grab a bottle of Kettle One before we dive in? It's going to be a long, boring ride!
Everyone at the FBI is freaking out in the wake of Parker's disappearance, but freaking out in that weirdly nonchalant way we've come to expect from The Following version of the Federal Bureau of Investigation and its satellite offices. "Hardy, it's Parker," says the female black analyst whose character exists only to pass the phone to Hardy. "She wants to talk to you." Does she? Does she want to talk to the main character of the show with whom she's been partnered for this whole friggin' serial killer investigation? Sorry, I've got to cool down -- we're like a quarter of the way in and, like bestselling author Joe Carroll, I'm already losing my mind. What Would Poe Do (WWPD)? So Hardy, polite, gets on the line and learns that a) Parker is in a box somewhere and b) NO, dammit, she doesn't know where that is. "The call is untraceable!" yells black analyst. In one of my favorite recurring drinking triggers of this first season, Hardy and Weston look at a map to see if they can sort of intuit where their partner might be. Could she be in…DC? Bora Bora? DAMMIT, THERE'S NO TIME.
Sweet Claire is dislocated herself, waking in a dark room that shouldn't surprise her because hey, everything in the set design is dark. Only it's not just an unfamiliar room; it's an unfamiliar place entirely. She steps outside to learn that she's at a LIGHTHOUSE, aka the title of Joe's first (less than successful) book. And all I can think is: narcissistic much? Claire might not even like lighthouses, Joe. Relationships are about embracing what your partner is into, even if it goes against your natural instinct to crazy-kill other human beings. And you wonder why she left you!
Hunting down Parker — who we learn has "3 to 5 hours of air," based on some back-of-the-envelope calculations — Hardy and Weston manage to capture a Follower sniper. Which is great, right, but gosh darn it, we've seen time and again this season how Hardy's "unique interrogation technique" will always get shot down by his tight ass superiors. Know what? NOT THIS TIME. "Do what you need to do," says Hardy's boss, not realizing the bureaucratic nightmare he's just unleashed for himself and his department. But Hardy and his loose cannon protege are already wheeling their man into a tool shed, just LETTING LOOSE with a barrage of well-placed stomach kicks. It's go time. "We're not gonna kill you," Hardy tells the guy. "But we're gonna get really close." Which, by Hardy's bizarre worldview, means literally blinding their hostage with his own thumb. You can tell this is meant to be symbolic, some mirror to the woman gouging her eyes out in the pilot. "Joe and Hardy are twins, sort of!" we should be commenting right now on an episode recap, maybe this one. But it's also played as a hyper-cool moment, the ultimate proof of Hardy's devil-may-care badassery. SCREW EYEBALLS.
With the information gleaned from their hostage, Hardy and Weston have what they need to rush to Parker's aid. Problem is, she…might not live to see them get there in time. Did someone say death scene over the phone? RING RING, DUDES, IT'S A MAJOR TURNING POINT IN THE EPISODE. "She's scared, Ryan," calm black analyst tells Hardy as she patches the two of them through. But not scared enough to offer some incredibly on-point advice and foreshadowing to our two heroes. To Weston: "you're a good man. Don't lose that." To Hardy: "This is not on you. I knew the deal." You helped practically nothing throughout the season, Parker, despite your background as a "cult expert." And now, dying, you make things even worse for everybody. DO YOU UNDERSTAND THE HORRIFIC EMOTIONAL AMMUNITION YOU HAVE JUST GIVEN THESE TWO GUYS?!
She dies on the phone, just her mouth visible in the enveloping darkness. It's all very artful.
Hardy and Weston finally reach the burial site, where frantic digging does nothing to change Parker's status as a dead person. Their Follower hostage chuckles nearby. "Little too late. Bummer." And Hardy, in a moment that is no doubt meant to tell us that he is just as damaged as the infamous serial killer Joe Carroll, goes off the reservation and executes the guy at point-blank range. To be fair? Hardy has killed someone in almost every single episode this season. One more won't send him any more to Hell.
Coming down off his murder-high, Hardy notices an envelope tucked into Parker's coffin. Could it be…? Is it…? YES -- the manuscript to Joe's masterpiece, "The Curse," which we'd seen him diligently working on between sex tape-watching sessions. Hardy reads. And it's all very familiar. Maybe…too familiar. "How could he know exactly what was going to happen?" demands Hardy, shaken to realize the author-murderer he's spent his life tracking might actually be some sort of warlock. Weston, convinced they don't have to play by Joe's rules, utters perhaps the finest line of the series thus far: "WE CAN CHANGE THE STORY." (If right after this you screamed at your television "WE CAN CHANGE THE CHANNEL," then tweet me so we can become best friends.)
That's as good a cue as any to check back in with Joe and Claire, busy rehashing the plot of Virginia Woolf's To The Lighthouse (maybe?) and certainly the play "Who is Afraid of Virginia Woolf." Why didn't Joe opt for a Virginia Woolf fixation? Dumb, Joe. Anyway -- blah blah blah "I loved you once" blah blah "You just leapt into the arms of the lithe and free Ryan Hardy" blah blah hostage stabbing blah I LITERALLY CANNOT SEE ANYTHING THAT'S GOING ON. In a genuinely creepy moment, Joe murders some throwaway hostage in front of his ex-wife. She'd been crying about feeling responsible for all of his murders, like she had blood on her hands. "THAT is what it's like to actually kill someone" he tells her, making a simple point in the most grandstanding way possible. Showboat!
It isn't long before Hardy (having ditched Weston, the Mary "I can't let them hurt you" Jane Watson to his alcoholic Spider-Man) surrenders himself to the Followers and is dropped off at the lighthouse, tied up alongside Claire and that dead hostage we just mentioned. Great family reunion, or greatest family reunion? Blah blah more idle chit-chat until Joe finally makes his move to murder Claire in front of Hardy. THEN Hardy summons his courage and tells Joe exactly what he thinks of his goddamned book:
"You know what they say about teachers, right? Those that can't do…teach. I know all your trigger words. You're a hack. Second-rate. Mediocre. Pretentious." Joe manages to keep it together enough, at least until this part: "I'm bored with you. And I'm bored with Edgar Allan Poe." FIIIIIIIIIIIIIIGGGGHHHHHTTTTTTTT.
Bodies move around in space (I really do apologize but I can't see anything on this show) until somehow, someway, Hardy and Joe's tussle lands them in a boathouse full of gas tanks. A stray bullet, or match, who knows, ignites the tanks. FIRE. The punch-fight to end all punch-fights continues until finally, finally Hardy the scrapper throws Joe deep into the flames. There's one brief moment where you think, "might Hardy save him? Is there some weird love here, or at least a sense that Hardy can't go on without his arch-nemesis/favorite Goodreads author?" Then the boathouse blows up and, tropes of the genre be damned, I don't see how you get out of that one. RIP Joe. RIP you magnetic, erratic warrior-poet.
The next morning…
Joey calls. Yay! Hopefully he's with a referenced babysitter this go-around. Weston shows up (well after movie convention tells us he should have) all pouty that Hardy wouldn't let him in on the final play. Calm down, buddy! That's one less monologue about the creative process that you had to participate in! Joe, it would appear, is really, really dead. DNA and dental records corroborate. So what dangling threads remain?
We see Emma at some diner in Mobile, AL, wearing one of Keri Russell's Americans wigs. She'll be BACK, sure, but not right away. Parker's definitely dead, and therefore not a Follower like I predicted. Roderick is definitely dead. Hardy's friend in witness protection? No. The FBI agent who got stabbed in the eye? I mean, that's a tough spot to get out of. THINK, FOG, THINK. Wait. Wait, I — I got it. THERE SHE IS, HARDY, THERE'S YOUR CRAZY EX-GIRLFRIEND STABBING YOU NOT IN THE BACK BUT RIGHT IN THE STOMACH OH HOW DID WE MISS THAT ONE.
Claire emerges from the bathroom (they were going to have a nice quiet date night) only to be greeted with the same enthusiasm. And there it all ends -- hardy, bleeding out on the floor, while the love of his weird life falls down to join him, also bleeding out. Blood begets blood or something. "Nevermore." I don't know anymore. And that's it for season one of The Following. Was it good? No. Could we recommend the show to even someone we'd like to victimize, in a Follower-lite sort of way? No, no. Were these recaps worth your time and attention? I don't even know how to begin to think about how to answer the question. All we can say about this schizoid little show with the hard-on for literary deconstruction is that it happened. And of course: SEE YOU ALL NEXT YEAR!
Follow Henning on Twitter @HenningFog
More: 'The Following' Season Finale: Will Kevin Bacon and James Purefoy Return? 'The Following' Recap: Murder and Mayhem at the Rec Center 'The Following' Recap: Roderick Goes Off-Book, With Fatal Results
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Tom Hanks, Nathan Lane, Tom Sturridge and Cyndi Lauper are among the stars set for glory at this year's (13) Tony Awards after landing a series of top nominations. Oscar winner Hanks is in the running for Best Performance by an Actor in a Leading Role in a Play for his part in Lucky Guy at the upcoming 67th annual prizegiving, which honours the best on Broadway.
He will go head-to-head with Lane (The Nance), Tracy Letts (Who's Afraid of Virginia Woolf?), David Hyde Pierce (Vanya and Sonia and Masha and Spike) and Sturridge (Orphans).
Legendary actress Cicely Tyson is up for Best Performance by an Actress in a Leading Role in a Play for The Trip to Bountiful, facing competition from Laurie Metcalf (The Other Place), Amy Morton (Who's Afraid of Virginia Woolf?), Kristine Nielsen (Vanya and Sonia and Masha and Spike) and Holland Taylor (Ann).
Meanwhile, Lauper's hit Kinky Boots bagged the lion's share of nominations with 13 Tony nods, while Matilda The Musical scooped 12. The two stage shows will compete for the coveted Best Musical trophy alongside Bring It On: The Musical and A Christmas Story, The Musical.
Pop star Lauper, who wrote the score for Kinky Boots, has taken to her Twitter.com page to share her excitement, writing, "OmG (Oh my God)! OMG!! Wow we got nominated! I'm crying and jumping up and down! I can't believe it so excited! So proud to be part of this!"
The winners will be unveiled at a ceremony on 9 June (13) at Radio City Musical Hall in New York City.
The main list of nominees is as follows:
The Assembled Parties
The Testament of Mary
Vanya and Sonia and Masha and Spike
Bring It On: The Musical
A Christmas Story, The Musical
Matilda The Musical
Best Book of a Musical:
A Christmas Story, The Musical
Matilda The Musical
Rodgers & Hammerstein's Cinderella
Best Original Score (Music and/or Lyrics) Written for the Theatre:
A Christmas Story, The Musical
Hands on a Hardbody
Matilda The Musical
Best Revival of a Play:
The Trip to Bountiful
Who's Afraid of Virginia Woolf?
Best Revival of a Musical:
The Mystery of Edwin Drood
Rodgers & Hammerstein's Cinderella
Best Performance by an Actor in a Leading Role in a Play:
Tom Hanks - Lucky Guy
Nathan Lane - The Nance
Tracy Letts - Who's Afraid of Virginia Woolf?
David Hyde Pierce - Vanya and Sonia and Masha and Spike
Tom Sturridge - Orphans
Best Performance by an Actress in a Leading Role in a Play:
Laurie Metcalf - The Other Place
Amy Morton - Who's Afraid of Virginia Woolf?
Kristine Nielsen - Vanya and Sonia and Masha and Spike
Holland Taylor - Ann
Cicely Tyson - The Trip to Bountiful
Best Performance by an Actor in a Leading Role in a Musical:
Bertie Carvel - Matilda The Musical
Santino Fontana - Rodgers & Hammerstein's Cinderella
Rob McClure - Chaplin
Billy Porter - Kinky Boots
Stark Sands - Kinky Boots
Best Performance by an Actress in a Leading Role in a Musical:
Stephanie J. Block - The Mystery of Edwin Drood
Carolee Carmello - Scandalous
Valisia LeKae - Motown The Musical
Patina Miller - Pippin
Laura Osnes - Rodgers & Hammerstein's Cinderella
Best Performance by an Actor in a Featured Role in a Play:
Danny Burstein - Golden Boy
Richard Kind - The Big Knife
Billy Magnussen - Vanya and Sonia and Masha and Spike
Tony Shalhoub - Golden Boy
Courtney B. Vance - Lucky Guy
Best Performance by an Actress in a Featured Role in a Play:
Carrie Coon - Who's Afraid of Virginia Woolf?
Shalita Grant - Vanya and Sonia and Masha and Spike
Judith Ivey - The Heiress
Judith Light - The Assembled Parties
Condola Rashad - The Trip to Bountiful
Best Performance by an Actor in a Featured Role in a Musical:
Charl Brown - Motown The Musical
Keith Carradine - Hands on a Hardbody
Will Chase - The Mystery of Edwin Drood
Gabriel Ebert - Matilda The Musical
Terrence Mann - Pippin
Best Performance by an Actress in a Featured Role in a Musical:
Annaleigh Ashford - Kinky Boots
Victoria Clark - Rodgers & Hammerstein's Cinderella
Andrea Martin - Pippin
Keala Settle - Hands on a Hardbody
Lauren Ward - Matilda The Musical
Best Direction of a Play:
Pam MacKinnon - Who's Afraid of Virginia Woolf?
Nicholas Martin - Vanya and Sonia and Masha and Spike
Bartlett Sher - Golden Boy
George C. Wolfe - Lucky Guy
Best Direction of a Musical:
Scott Ellis - The Mystery of Edwin Drood
Jerry Mitchell - Kinky Boots
Diane Paulus - Pippin
Matthew Warchus - Matilda The Musical
Andy Blankenbuehler - Bring It On: The Musical
Peter Darling - Matilda The Musical
Jerry Mitchell - Kinky Boots
Chet Walker - Pippin
Christopher Nightingale - Matilda The Musical
Stephen Oremus - Kinky Boots
Ethan Popp and Bryan Crook - Motown The Musical
Danny Troob - Rodgers & Hammerstein's Cinderella.