A free-spirited individual who has worked as screenwriter, producer and script editor for both his brother, Gillies MacKinnon, and Jane Campion, Billy MacKinnon came into his own with the 1995 release...
Jesse Tyler Ferguson and Sutton Foster took the stage together. No, they haven't teamed up for a Broadway show, a new television series, or a Modern Family/Bunheads crossover (which would be awesome). But the theater-loving stars came together Tuesday to announce the nominations for the 2013 Tony Awards. (They are the hosts for this year's show, after all, so it only made sense that these two would have the honors of making the big announcement.)
Check out which plays and actors are nominated for Tony Awards for their work on the stage this year.
2013 Tony Awards Nominations:
Best Play:The Assembled PartyLucky GuyThe Testament of MaryVanya and Sonia and Masha and Spike
Best Musical:Bring It On: The MusicalKinky BootsMatilda The MusicalA Christmas Story, The Musical
Best Book of a Musical:A Christmas Story, The MusicalKinky BootsMatilda The MusicalRodgers + Hammerstein's Cinderella
Best Revival of a Play:Golden BoyOrphans The Trip to BountifulWho's Afraid of Virginia Woolf?
Best Revival of a Musical: AnnieThe Mystery of Edwin DroodPippinRodgers + Hammerstein's Cinderella
Best Performance by an Actress in a Leading Role in a Play: Laurie Metcalf, The Other PlaceAmy Morton, Who's Afraid of Virginia Woolf?Kristine Nielsen, Vanya and Sonia and Masha and SpikeHolland Taylor, AnnCicely Tyson, The Trip to Bountiful
Best Performance by an Actor in a Leading Role in a Play: Tom Hanks, Lucky GuyNathan Lane, The NanceTracy Letts, Who's Afraid of Virginia Woolf?David Hyde Pierce, Vanya and Sonia and Masha and SpikeTom Sturridge, Orphans
Best Original Score (Music and/or Lyrics) Written for the Theatre: A Christmas Story, The Musical Music and Lyrics: Benj Pasek and Justin Paul Hands on a Hardbody Music: Trey Anastasio and Amanda Green Lyrics: Amanda Green Kinky Boots Music & Lyrics: Cyndi Lauper Matilda The Musical Music & Lyrics: Tim Minchin
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 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 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 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 Musical:Annaleigh Ashford, Kinky Boots Victoria Clark, Rodgers + Hammerstein’s Cinderella Andrea Martin, Pippin Keala Settle, Hands on a Hardbody
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 Costume Design of a Play: Soutra Gilmour, Cyrano de Bergerac Ann Roth, The Nance Albert Wolsky, The Heiress Catherine Zuber, Golden Boy
Best Costume Design of a Musical: Gregg Barnes, Kinky Boots Rob Howell, Matilda The Musical Dominique Lemieux, Pippin William Ivey Long, Rodgers + Hammerstein’s Cinderella
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
Best Choreography:Andy Blankenbuehler, Bring It On: The Musical Peter Darling, Matilda The Musical Jerry Mitchell, Kinky Boots Chet Walker, Pippin
Best Orchestrations:Chris Nightingale, Matilda The Musical Stephen Oremus, Kinky Boots Ethan Popp & Bryan Crook, Motown The Musical Danny Troob, Rodgers + Hammerstein’s Cinderella
Best Scenic Design of a Play:John Lee Beatty, The Nance Santo Loquasto, The Assembled Parties David Rockwell, Lucky Guy Michael Yeargan, Golden Boy
Best Scenic Design of a Musical:Rob Howell, Matilda The Musical Anna Louizos, The Mystery of Edwin Drood Scott Pask, Pippin David Rockwell, Kinky Boots
Best Lighting Design of a Play: Jules Fisher & Peggy Eisenhauer, Lucky Guy Donald Holder, Golden Boy Jennifer Tipton, The Testament of Mary Japhy Weideman, The Nance
Best Lighting Design of a Musical:Kenneth Posner, Kinky Boots Kenneth Posner, Pippin Kenneth Posner, Rodgers + Hammerstein’s Cinderella Hugh Vanstone, Matilda The Musical
Best Sound Design of a Play:John Gromada, The Trip to Bountiful Mel Mercier, The Testament of Mary Leon Rothenberg, The Nance Peter John Still and Marc Salzberg, Golden Boy
Best Sound Design of a Musical:Jonathan Deans & Garth Helm, Pippin Peter Hylenski, Motown The Musical John Shivers, Kinky Boots Nevin Steinberg, Rodgers + Hammerstein’s Cinderella
Special Tony Award for Lifetime Achievement in the Theatre:Bernard GerstenPaul LibinMing Cho Lee
Regional Theatre Award:Huntington Theatre Company, Boston, MA
Isabelle Stevenson Award:Larry Kramer
Tony Honors for Excellence in the Theatre:Career Trainsition For DancersWilliam CraverPeter LawrenceThe Lost ColonyThe four actresses who created the title role of Matilda The Musical on Broadway: Sophia Gennusa, Oona Laurence, Bailey Ryon, and Milly Shapiro
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There is something particularly unnerving about demon possession. It's the idea of something you can't see or control creeping into your body and taking up residence eventually obliterating all you once were and turning you into nothing more than a sack of meat to be manipulated. Then there's also the shrouded ritual around exorcisms: the Latin chants the flesh-sizzling crucifixes and the burning Holy Water. As it turns out exorcism isn't just the domain of Catholics.
The myths and legends of the Jews aren't nearly as well known but their creepy dybbuk goes toe-to-toe with anything other world religions come up with. There are various interpretations of what a dybbuk is or where it comes from — is it a ghost a demon a soul of a sinner? — but in any case it's looking for a body to hang out in for a while. Especially according to the solemn Hasidic Jews in The Possession an innocent young person and even better a young girl.
The central idea in The Possession is that a fancy-looking wooden box bought at a garage sale was specifically created to house a dybbuk that was tormenting its previous owner. Unfortunately it caught the eye of young Emily (Natasha Calis) a sensitive artistic girl who persuades her freshly divorced dad Clyde (Jeffrey Dean Morgan of Watchmen and Grey's Anatomy) to buy it for her. Never mind the odd carvings on it — that would be Hebrew — or how it's created without seams so it would be difficult to open or why it's an object of fascination for a young girl; Clyde is trying really hard to please his disaffected daughters and do the typical freshly divorced parent dance of trying to please them no matter the cost.
Soon enough the creepy voices calling to Emily from the box convince her to open it up; inside are even creepier personal objects that are just harbingers of what's to come for her her older sister Hannah (Madison Davenport) her mom Stephanie (Kyra Sedgwick) and even Stephanie's annoying new boyfriend Brett (Grant Show). Clyde and Stephanie squabble over things like pizza for dinner and try to convince each other and themselves that Emily's increasingly odd behavior is that of a troubled adolescent. It's not of course and eventually Clyde enlists the help of the son of a Hasidic rabbi a young man named Tzadok played by the former Hasidic reggae musician Matisyahu to help them perform an exorcism on Emily.
The Possession is not going to join the ranks of The Exorcist in the horror pantheon but it does do a remarkable job of making its characters intelligent and even occasionally droll and it offers up plenty of chills despite a PG-13 rating. Perhaps it's because of that rating that The Possession is so effective; the filmmakers are forced to make the benign scary. Giant moths and flying Torahs take the place of little Reagan violently masturbating with a crucifix in The Exorcist. Gagging and binging on food is also an indicator of Emily's possession — an interesting twist given the anxieties of becoming a woman a girl Emily's age would face. There is something inside her controlling her and she knows it and she is fighting it. The most impressive part of Calis's performance is how she communicates Emily's torment with a few simple tears rolling down her face as the dybbuk's control grows. The camerawork adds to the anxiety; one particularly scary scene uses ordinary glass kitchenware to great effect.
The Possession is a short 92 minutes and it does dawdle in places. It seems as though some of the scenes were juggled around to make the PG-13 cut; the moth infestation scene would have made more sense later in the movie. Some of the problems are solved too quickly or simply and yet it also takes a while for Clyde's character to get with it. Stephanie is a fairly bland character; she makes jewelry and yells at Clyde for not being present in their marriage a lot and then there's a thing with a restraining order that's pretty silly. Emily is occasionally dressed up like your typical horror movie spooky girl with shadowed eyes an over-powdered face and dark clothes; it's much more disturbing when she just looks like an ordinary though ill young girl. The scenes in the heavily Hasidic neighborhood in Brooklyn look oddly fake and while it's hard to think of who else could have played Tzadok an observant Hasidic Jew who is also an outsider willing to take risks the others will not Matisyahu is not a very good actor. Still the filmmakers should be commended for authenticity insofar as Matisyahu has studied and lived as a Hasidic Jew.
It would be cool if Lionsgate and Ghost House Pictures were to release the R-rated version of the movie on DVD. What the filmmakers have done within the confines of a PG-13 rating is creepy enough to make me curious to see the more adult version. The Possession is no horror superstar and its name is all too forgettable in a summer full of long-gestating horror movies quickly pushed out the door. It's entertaining enough and could even find a broader audience on DVD. Jeffrey Dean Morgan can read the Old Testament to me any time.
BEVERLY HILLS, Calif., March 19, 2000 - Rene Russo, the actress, didn't win any awards for her head-turning performance in "The Thomas Crown Affair." But tonight here at the Beverly Hilton, Rene Russo, the haircut, did. Welcome to the first-ever Hollywood Makeup Artist and Hair Stylist Guild Awards, where the above-the-title stars take back seats to behind-the-scenes primping professionals.
Yes, it was the beauty folks' turn to make Oscar-like acceptance speeches and bask in the praise of thankful A-list celebrities who they've made look good, "day after day, year after year, facelift after facelift," as host Rita Rudner drolly put it.
"It's the American dream that I've heard so much about. It's happening to me right now," hair stylist Enzo Angileri said, accepting the so-called Georgie award for doing Russo's do in "Thomas Crown," named best contemporary hairstyling work.
Decades ago, hair and make-up people were treated like celebrities themselves. But the list of big names attending the awards ceremony showed that, while movie and TV beauticians may no longer make it into the gossip columns, they nonetheless are held in high esteem by those who do.
"It's an art form," said actor Billy Bob Thornton, an award presenter. As if to prove that point, Thornton showed up in full make-up (complete with oily gray hair) and costume (a Slim Whitman-meets-Colonel Sanders outfit) from "Waking Up In Reno," a film he's now shooting, in which he plays an aging country singer.
"A lot of people don't realize how much time we spend in make-up, how many hours we spend being literally transformed by these artists," he said.
Other name brands handing trophies included: Holly Hunter, Brendan Fraser (greeted by cat-calls from the audience), Ellen Burstyn, Mimi Rogers, and cast members from TV shows like "That 70's Show," "Freaks and Geeks," and "Providence." Before the event, crowds of fans and electronic lined the Beverly Hilton lobby as the stars rolled in.
Tony Curtis presented the lifetime achievement award to makeup artist Monty Westmore, who recently retired after a 50-plus-year career that included more than 100 films, ranging from "The Treasure of Sierra Madre" with Humphrey Bogart to the forthcoming "How the Grinch Stole Christmas" with Jim Carrey.
Unlike the Oscars, which have been plagued by mishaps this year despite 72 years of experience, the Georgies basically survived their first go-round with almost no problems. Ballots were mailed out to the 1,100 members of the International Alliance of Theatrical Stage Employees Local 706, who voted on the 17 different award categories. And the golden statuettes, which look vaguely Oscar-like, didn't disappear en route to the event.
But note the phrase: Almost no problems. Amid the celebration, two important items were missing: The champagne and sunglasses. The champagne ordered for the ceremonies never arrived, and was believed to have been delivered to another hotel. And the Calvin Klein shades that were to be supplied by the designer label and given out to the presenters, also were no-shows.
When informed of this caper, actress Christina Applegate (of "Jesse" fame) was understandably dejected.
"Was I supposed to get some glasses?" Applegate said. "Darn."
Here's a complete look at the night's winners:
Best Contemporary Makeup (Feature) Toni G and Will Huff "The General's Daughter."
Best Period Makeup (Feature) Leonard Engleman, "Tea With Mussolini."
Best Character Makeup (Feature) Kevin Yagher, Peter Owen, Elizabeth Tag and Paul Gooch, "Sleepy Hollow."
Best Effects Makeup (Feature) Greg Cannom and Wesley Wofford, "Bicentennial Man."
Best Contemporary Hair Styling (Feature) Enzo Angileri "The Thomas Crown Affair."
Best Period Hair Styling (Feature) Vivian McAteer, for Cher in "Tea With Mussolini." Television TELEVISION
Best Contemporary Makeup (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) James MacKinnon and Stephanie Fowler, "Thank You Providence," "Providence."
Best Period Makeup (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Cheri Montesanto-Medcalf, Kevin Westmore and LaVerne Basham, "Triangle," "The X-Files."
Best Character Makeup (Television) Jennifer Aspinall, Felicia Linsky and Ed French, Episode #507, "Mad TV."
Best Makeup Effects (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Kenny Myers, Todd A. McIntosh, Robin Beauxchesne, Douglas Noe, and Brigette Myre-Ellis, "Living Conditions," "Buffy The Vampire Slayer."
Best Period Makeup (For a Mini-Series or Movie of the Week) Sue Cabel, Matthew Mungle and Joe Hailey, "And The Beat Goes On: The Sonny and Cher Story."
Best Character Makeup (For a Mini-Series or Movie of the Week) Douglas Noe, for Cicely Tyson in "A Lesson Before Dying."
Best Contemporary Hair Styling (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Darrell Fielder, Jonathan Hanousak and Joy Zapata, "The Final Frontier," "Mad About You."
Best Period Hair Styling (For a Single Episode of a Regular Series -- Sitcom, Drama or Daytime) Gabriella Pollino, Deborah Piper, Valerie Scott and Cindy Costello, "Prom Night," "That 70's Show."
Best Character Hair Styling (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Josee Normand, Charlotte Parker and Gloria Montemeyor, "Bride of Chaotica," "Star Trek Voyager."
Best Innovative Hair Styling (For a Single Episode of a Regular Series - Sitcom, Drama or Daytime) Josee Normand, Charlotte Parker and Gloria Montemeyor, "Dragon's Teeth," "Star Trek Voyager."
Best Period Hair Styling (For a Mini-Series or Movie of the Week) Marlene Williams and Tim Jones "And The Beat Goes On: The Sonny & Cher Story."
Was producer and script editor on Jane Campion's "Sweetie"
Produced brother Gillies MacKinnon's award-winning student film "Passing Glory"
Moved to Australia
Served as script editor on Campion's "The Piano"
Produced and co-wrote "Small Faces", directed by his brother
Raised in Scotland
A free-spirited individual who has worked as screenwriter, producer and script editor for both his brother, Gillies MacKinnon, and Jane Campion, Billy MacKinnon came into his own with the 1995 release of "Small Faces", which he produced and co-wrote with his brother. The poignant yet hearty coming of age tale of a 14-year old lad in the low-income housing projects of Glasgow in 1968, "Small Faces" won near unanimous praise and has been acknowledged as semi-autobiographical. MacKinnon and his brother had previously worked together on "Passing Glory" (1986), which served as Gillies' graduation thesis from the Glasgow School of Art.<p>While his older brother has gone on to make numerous other films, MacKinnon has chosen to travel throughout the world, living in Morocco, London and Sydney, Australia. While Down Under, he met and became romantically involved with New Zealand-born filmmaker Jane Campion. Billed as William MacKinnon, he served as producer and script editor on her debut feature "Sweetie" (1989). He also worked as script editor on her Oscar-winning screenplay for "The Piano" (1993), but by the time of its release, their personal relationship had ended. Additionally, he has produced two nonfiction films, Sue Clayton's "The Last Crop" and "Motherland". MacKinnon has long been developing the Christopher Isherwood memoir "My Guru and His Disciple" as a feature film.
MacKinnon is known to travel with two notebooks, one in which to record thoughts and ideas, the other for doodles and drawings.
He has long been involved in attempting to develop a feature based on Christopher Isherwood's memoir "My Guru and His Disciple"; at one time, Jane Campion was attached to direct, but the project (as of 1997) was on hold.
MacKinnon on being a writer and producer: "(It's) like one of those hermaphroditic worms you find at the bottom of the sea, that has sex with itself and has their own babies." --to Jayne Margetts in theiMAGAZINE at www.thei.aust.com
"I think I'm quite interested in the dilemma of the individual. I think I'm interested in deviancy, and I don't mean criminal deviancy. It's like Christianity--and I'm not a Christian--but the symbol of the crucifix is about the invevitability of being human, and the fact that we are all different, and I'm quite interested in that friction that comes from how we are born into a reality we don't create." --MacKinnon to Jayne Margetts in the iMAGAZINE, c. 1995 (www.thei.aust.com)