Monica Piper Delivers The Goods in “Not That Jewish”

Review by: Peter Foldy

You don’t have to be Jewish to relate to Monica Piper’s hilarious, autobiographical one woman show, NOT THAT JEWISH, now playing at the Braid Performance Art Space in Santa Monica.

A respected stand-up comic and Emmy Award winning writer, Ms. Piper takes us on a poignant  journey that introduces us to colorful characters who could have stepped out of a Neil Simon play. There are cousins and uncles, neighbors and grandparent, not to mention Mickey Mantle, but more about him later.

Raised by loving parents in the Bronx, Monica’s father was a performer who gave up his career to support his family.

Though of the Jewish faith, Monica’s immediate clan are “not that Jewish.” They go to temple on high holidays and follow many of the traditions, but are not particularly religious. What they do have is the motivation to do the right thing. To be kind. To accept others. When as a child, she asks her mother if the family has a Jewish heart, mom replies, “yes, darling, we’re Democrats.”

As young Monica begins to develop her wicked sense of humor, her father, perhaps wanting to live vicariously, encourages his daughter to hone her comedy skills.

After a short lived career as a high school teacher, Monica takes her fathers advice and begins doing stand up at the Comedy Store in L.A. A long stint on the road solidifies her act and lands her a Showtime special, garnering a nomination for an American Comedy Award. Piper ends up being one of Showtime Network’s “Comedy All Stars,” and one of the top five female comedians in the country. This show is not about Piper’s accomplishments. It’s about winning and losing, and most of all it’s about laughing through it all.

Monica’s saga is both touching and heartbreaking. Getting back to that Mickey Mantle story, it concerns her childhood obsession with the great baseball star. She has his pictures on her wall and he is an inspiration to her, to the point that she marries not one but two tall light haired, blue-eyed non Jewish men. When  she finally encounters “the Mick” in person, years later in a New York bar, their interaction is both creepy and awkward–but like all of her anecdotes, it’s hilarious.

Never meet your heros, they say.

Ms. Piper’s comedy skills, both verbal and physical, are finely tuned and the laughs keep coming–even if some of them are through your tears.

Clocking in at a fast paced 85 minutes, Not That Jewish is an inspiring, finely crafted comedy performance that should not be missed.

Where:
THE BRAID
Performance & Arts Space
2912 Colorado Ave., #102
Santa Monica, CA  90404

When: 8pm Thursdays and Saturdays
2pm and 7:30pm all Sundays
Added performance at 8pm on Wednesday, December 12

Closes: December 16, 2018

How:
Reservations: at www.jewishwomenstheatre.org or (310) 315-1400

How much: $35 – $45

 

 

 

“Cal in Camo” Is Compelling and Suspenseful

Play Review by Peter Foldy

Writer, William Francis Hoffman’s CAL IN CAMO, making it’s West Coast Premiere at the VS Theatre is a chilling, metaphoric drama with dialogue as raw as it’s wounded characters. The story revolves around Tim and Cal, a young married couple adrift in what seems to be a hopelessly doomed relationship. Like their newly bought home in rural Illinois, their marriage is at risk of sinking. Cal suffers from postpartum depression and is unable to produce breast milk for their newborn baby daughter  We soon learn that her problems go a lot deeper. Abandoned as a young child by her mother, Cal grew up in foster homes and has no family other than a brother, Flynt. A hunter with a deep connection to nature, Flynt has recently lost his wife in a tragic drowning accident.

Bree Turner and Brad Raider

To help her brother heal, Cal invites Flynt to spend a few days at their recently bought, isolated home in rural Illinois. This doesn’t bode well with Tim, especially when he learns that Cal flew Flynt first class, despite the fact that they are struggling to make ends meet. Tim has also not forgotten that Flynt walked out in the middle of their wedding reception, taking Tim’s favorite tie that his brother-in-law borrowed for the occasion.

Tim Cummings

A loner with a connection to nature, Flynt arrives wearing camouflage. Never a good sign. He says little and when he speaks he talks of pending doom. With turbulant weather on the horizon, and a rifle that is introduced into the mix, one gets the sinking feeling that this story will not have a happy ending.

Flynt’s visit does ultimately prove purposeful. Though he can’t give his sister what she asks of him,  Flynt does inspire Cal to seek what she desperately needs.

Brad Raider and Bree Turner

Bree Turner delivers a powerful performance as the vulnerable Cal, bravely exposing her character’s broken heart. Brad Raider’s Tim manages to evoke empathy as a failed beer salesman, struggling to keep his marriage together. Tim Cummings brings a cloud of mystery to this brooding tale, his presence elevating the sense of danger that builds throughout, not unlike the approaching storm that will either wreck havoc or clense the wounds that need healing.

Tim Cummings and Brad Raider

With solid direction from Amy K Harmon, impressive set design by Se Hyun Oh, and an outstanding score by Chris Moscatiello, who also created the sound design, Cal in Camo delivers a compelling and emotional roller coaster ride.

Cal in Camo plays at 8pm Thursdays-Saturdays, and 3pm Sundays through November 9, 2018.

VS. Theatre is located at 5453 Pico Blvd. in Los Angeles, 90019.

Tickets are $20 – $35. Reservations: reddogsquadron.com

For more information call: 323-739-4411

Photos by: David Rodriguez

 

A Poignant Look at Homelessness in “The Bench” at the Hudson Theatre

Review by Peter Foldy

Homelessness is a situation that devastates lives. Most of us avoid thinking about it. We look away as we pass the ever growing army of homeless souls the now seem to have become a permenant fixture in Los Angeles. We avoid eye contact, even as we make a small contribution. A new play at the Hudson Theatre directed by Jay O. Sanders confronts the issue head on and, at least for an hour, it makes the problem hard to ignore.

Robert Galinsky in “The Bench”

The Bench, a Homeless Love Story is set in the urban decay of a crumbling city during the start of the AIDS crisis. Mined from true stories of people in the New York neighborhood where he once lived, writer/activist Robert Galinsky presents a sobering look at life on the streets. Looking very much like a member of the homeless army himself, Galinsky’s one man play grabs you by the heart as it tries to open your mind. He introduces us to five homeless characters, four men and a woman, whose lives have become forever entwined. Each has a different story arc. Yes, some are self destructive, but many are victims of unforeseen circumstance. One thing is certain. They were all once somebody’s child. With brutal honesty and gentle humor, Galinsky acts out their various narratives, and as he shares their perspective, it becomes frighteningly obvious that some people are just one mistake, one life crisis away from joining this exploding population.

As you leave the theater you might find yourself filled with more compassion. But are you?

On opening night, a homeless man wondered into the after-party held in the Hudson Cafe next door. The man started yelling and making a scene, and as he did, most, if not all of the audience members froze. Tried to look away. I couldn’t help notice the irony. Was the lesson of “The Bench” already forgotten? Is ten minutes all it takes? This is exactly what Galinsky is trying to impress upon us and for that alone, The Bench, a Homeless Love Story should be seen.

Presented by Tony Winner, Terry Schnuck, OBIE/Drama Desk Winner, Barry Shabaka Henley and Golden Globe Nominee, Chris Noth, The Bench also delivers noteworthy set design and illustrations from talented artist Daphne Arthur.  She has also created a graphic novel called “The Bench” which is available for purchase at the show, with proceeds donated to various charities.

Arthur has had solo exhibitions at RARE gallery in NY and at the University of Massachusetts Boston, with numerous group shows in other major cities.

The Bench runs at 8pm Thursdays and Fridays through November 9, 2018.

The Hudson Guild Theatre is located at 6539 Santa Monica Boulevard, Los Angeles, CA 90038.

Tickets are $25 online at www.plays411.com/thebench or call (323) 960-7822.

 

Fairy Tales for Adults, It’s a Musical at The Pico – Bold Young Company

By Peter Foldy

Be warned, your face may hurt from laughter after seeing, Fairy Tale Theatre 18 & Over: The Musical. This show is frinkin’ hilarious.

Originally inspired by a hot date gone wrong (and who can’t relate to that), “Fairy Tale Theatre 18 and Over” took Los Angeles by storm during a sold out run at the Matrix Theatre in 2011. It caught the attention of Billy Crystal’s Face Productions and is currently optioned at Warner Brothers digital with Wildline Entertainment.

Writer Michael J. Feldman has since created additional iterations on stage, winning the hearts and attention of both audiences and critics, and has now returned to Los Angeles with the musical version playing at The Pico for a limited run. Grab the kids and drop them with the babysitter, then treat yourself to an adult night out.

Ammunition Theatre Company has made bold choices this season, garnering themselves several Stage Raw awards for Bernardo Cubría’s “The Giant Void In My Soul,” and their latest choice, “Fairy Tale Theatre 18 and Over: The Musical” is paying off with great ticket sales and even more critical acclaim.

The play offers audience’s important life lessons digested with lots of laughter and original music. The delectable menu of tales includes a gay cat ballet, operatic singing, people and puppets telling stories about following your dreams (a penguin who sets out to fly), practicing what you preach (a privileged service dog calls out inequality, but refuses to give up the vest), and even trying to connect in a universe with so many shining stars, most of whom are looking like happy clusters, not unlike living in Los Angeles (but really, they’re all alone just hoping to avoid falling into the black holes).

Feldman tells us, “I knew this production was way too massive and expensive to mount. So I shelved it for years. But, fortunately, I joined a theatre company with a bunch of insanely talented people and they decided to put it up for their fall 2018 season. Without their resources, I never would have been able to mount this production.

 Some of those talented Ammunition members include the cast with Sheila Carrasco, Matt Cook, Jason Currie, Michael J. Feldman, Tina Huang, Jess McKay, Burl Moseley, Jason Rogel, Colleen Smith, Cloie Wyatt Taylor, and Greg Worswick.

Jason Currie is the Music Director/Composer, Alexandra Friedman created the Scene Designs, Andrew Schmedake is the Lighting Designer, Dalmar Montgomery the Sound Designer, Stephen Rowan the Costume Designer), Meghann Lucas the Choreogrpaher, and Noriko Ogawa the Keyboardist. Produced by Kim Hamilton and Bernardo Cubría, don’t forget to get it while you can!

With only a few perfomances left, this is a show that shouldn’t be missed.

Fairy Tale Theatre 18 & Over: The Musical runs at 8pm Fridays & Saturdays, and 7pm on Sundays through October 7, 2018 (Understudy performance on Thursday, October 4th at 8pm and added 11pm on Saturday, Oct 6th). The Pico is located at 10508 W. Pico Blvd. Los Angeles, CA 90064. Tickets are $35 online at https://www.eventbee.com/event?eid=198363472#/tickets. Information: (323) 628-1622 and http://ammunitiontheatre.com

 

Since his “Swansong,” André de Vanny is keeping Conor McDermottroe’s Award Winning Story in the Hollywood Spotlight

Selected for the Munich, Montreal and Camerimage film festivals, Swansong won best drama at the Galway Film Fleadh and was nominated for six ITFAs in 2011. The film was adapted from Conor McDermottroe’s one-man theatre play Swansong which won raves worldwide and was translated into German and Swedish. Swansong makes its West Coast Premiere in Los Angeles on September 8, 2018, at the Skylight Theatre, produced in tandem with the Australian Theatre Company and directed by Greg Carroll.

This is theatre that doesn’t settle for easy answers. A gritty monodrama, it tells the story of Austin “Occi” Byrne, abused and isolated, violent and vulnerable, and searching for redemption.

Award winning Australian actor André de Vanny plays Occi. He began his career with the leading role in the international hit series Wicked Science 1 and 2 and it just keep getting better from there. André has since appeared in many Australian feature films including the upcoming The Combination 2, Hating Alison Ashley, Under a Red Moon, Nice Shootin’ Cowboy. Recently, he was given a nod for Best Actor at the Green Room Awards, acknowledging his work in Glory Dazed for Red Stitch Theatre Company.

Andre’s performance in Swansong has achieved widespread critical acclaim and the show has returned twice to sell out seasons at Sydney’s The Old Fitz Theatre as well as Melbourne’s Metanoia Theatre, and most recently a sell out season at Theatre Works in Melbourne.

This performance is quite a workout, emotionally and physically, even for a young actor. We asked if he’d let us in on where he gets that kind of stamina as an actor:

HR: How do you prepare for a role like this?

André: There are many highs and lows in the play that follow one after the other, often in quick succession. Once the show has begun I just have to let go and allow it to flow in its own unique way. But this takes rigorous physical, vocal and mental preparation. It’s the old story where, achieving spontaneity and freedom in the moment requires extreme discipline and thorough preparation.

HR: Is it more difficult to bring Occi to life without props and a set?

André de Vanny: This is a performance driven piece, a pure story telling experience. Without set, sound or props you have the freedom to create any world you want at anytime. It feels very natural and allows for a more direct and intimate relationship with the audience.

HR: Despite the adversity and challenges for this character he seems to hang tough. Do you see the POV of the playwright as endowing this character with a positive outlook?

André de Vanny: Occi is an eternal optimist. We all know people who have hope even in the face of the most dire situations. It’s inspiring and endearing. I hope people will take that away from the experience of seeing this show.

HR: You’re from Melbourne, but the play takes place Ireland, during the 70/80s. Do you feel it’s still relevant in this time, and in Los Angeles?

André de Vanny: Prejudice and mental illness are unfortunately still prevalent in society today. This play speaks to those issues here and now. It honors those people who slip through the cracks, those who are outcast and forgotten. Having a child out of wedlock is no longer the shameful sin it once was but the bullying and persecution that Occi endures as a result of this, is something many can relate to. It’s a timeless story that is as relevant today as ever, and in almost every city in the world.

HR: You’re returning to the role for the 3rd time, but for the first time in Los Angeles. What’s that like?

André de Vanny: It’s like visiting an old friend. Occi has remained close to my heart and mind. It’s like you just pick up where you left off. However, each time has felt new and special and has grown a bit. As will this run in Los Angeles at the Skylight Theatre.

Swansong opens at 8:30pm on Saturday, September 8th and continues Fridays and Saturdays at 8:30pm; 2:00pm on Sundays; and 8:00pm on Mondays through October 7, 2018. Skylight Theatre is located at 1816 1/2 N. Vermont Ave, LA, 90027. Tickets are $15 – $30. Reservations: (866) 811-4111, atctix.org

or http://SkylightTix.com

 

Stories of Truth for a World in Denial

A lifetime of family memories and five years of rewrites has garnered Leslie Ayvazian’s “100 Aprils” a spot in Rogue Machine’s 2018 season. The run has been extended twice and the schedule encourages audiences to stay after matinee performances on Sundays, for talkbacks with special guests.

The play packs a sobering punch while shedding light on a subject that has been swept under the carpet for over a century, the Armenian genocide. Strong writing and heartfelt performances make this a production worth seeing.

Described as a darkly comic look at the generational consequences, when history is denied, it travels a fine line between reality and hallucination. John Saypian is somewhat of a modern-day Don Quixote. He and his wife are second generation Armenians whose parents escaped the genocide. John believes that a tormentor is pursuing him, and as his health begins to fail him so does his mind. But, not his memories of the atrocities that he witnessed as a child, along with his family.

Rachel Sorsa, Robertson Dean, John Perrin Flynn and Leslie Ayvazian

To better understand where the subtleties and depth of writing like this is conceived, we asked playwright Leslie Ayvazian to talk about the journey of creating it.

HR: When did you begin, and what inspired you, to write 100 Aprils?

Leslie: I began the project about five years ago. Initially, I wanted to write a play to honor, and to coincide with, the 100-year commemoration of the Armenian genocide. Some excerpts of my play were included by CTG for their event “Staging the Unstageable” at the Kirk Douglas Theatre in 2015 but this is the true world premiere of the full piece at Rogue Machine.

Growing up in an Armenian family gave me endless resources for writing about this subject. I write what I know. My father was born in Turkey and escaped to NYC. Much of what I know of the genocide is what I’ve learned from my grandmother and my father’s stories, and even from his silences. Some things were too horrific to fully articulate.

Rachel Sorsa and Janet Song

I’m inspired to write about what I am pursuing, and I write what I want to know. For me I want to know why the world has not accepted the history of the Armenians when there is so much proof and so much evidence and yet there is this persistent denial.

HR: Is that what you hope audiences will become more aware of when they see the play?

Leslie: I just hope that audiences will find a reason that it’s relative, and that they are glad that they had the experience of seeing it. I don’t write plays to teach people anything. I write things that are true for me and I hope they’re true for others. I was looking forward to having the play open at Rogue Machine in Los Angeles because it’s a great company, and there is a large community of Armenians in the city. This community was profoundly supportive of my play, Nine Armenians, when Gordon Davidson directed it at the Mark Taper Forum years ago. Gordon believed this story must be told. And it doesn’t matter if it’s been 100 years or 1000 years, people must know the truth. They need to know how the genocide influences our lives, and generations to come. We will keep telling the story so it’s not forgotten, 1.5 million people cannot be brutally slaughtered and it still doesn’t show up in any history books, and certainly not in America.

It’s just a matter of trying to set the world right in truth.

Leslie Ayvazian and John Perrin Flynn

HR: How did you decide on the style of the play? You have described it as absurdist, correct?

Leslie: It comes from an absurdist world, with a sense of humor about the ways that we cope and learn to survive. Any history of family members is a surreal world. Although this piece lives partially in hallucination and partially in dreams that cannot be silenced, the characters are always reaching for what is real.

This style emerged from the experience of denial, and how it affects people who live in a world that has little connection to the truth of history. I remember how my grandmother would talk, and sometimes she would just drift off looking out the window with the pain of those memories. As a physician, my father carried this sorrow throughout his life. Most people from Armenian families have a version of this story. I’m not a person who paints pictures that are set in elaborately designed living rooms. I don’t write plays like that.

100 Aprils has extended twice to run Saturdays and Mondays at 8:30pm, Sundays at 3:00pm through July 23, 2018. Rogue Machine is located in The Met, 1089 N Oxford Ave, Los Angeles, CA 90029. Tickets are $40. Reservations: 855-585-5185 or at www.roguemachinetheatre.com

John Simmons “A Life in Black and White” Exhibit Opens at the Perfect Exposure Gallery

Los Angeles, April 11, 2018

Black and White is beautiful. Photographer, John Simmons proves that with his new exhibit “A Life In Black and White,” opening on April 12, 2018 at the Perfect Exposure Gallery in Los Angeles.

A familiar figure on film and TV sets, Simmons is a well-known cinematographer with 2 Emmy Awards under his belt. Though he has been around since the early sixties, he has kept his many powerful still images under wraps.

In “A Life In Black and White,” Simmons pays tribute to ordinary people living ordinary lives–living in anonymity, till they are immortalized through this photographer’s inquisitive yet unobtrusive lens. Simmons manages to capture insignificant moments that on closer examination have so much to say.

Photographers “can’t help but put a frame around the world we see,” Simmons explains. “We are continually composing and all my pictures tell a story. Each one has its own spirit and soul. I have an affinity for people and whatever they share with me the moment I press the shutter becomes a testament to their lives.”

This rare glimpse in the monochrome world of John Simmons opens with a reception on April 12, 2018 and runs through May 25, 2018, at The Perfect Exposure Gallery, 1125 Crenshaw Blvd. Los Angeles, CA 90019.

There is no charge for admission.

www.ThePerfectExposureStudio.com

 

A Warm and Fuzzy El Nino

Review by: Peter Foldy

Sharp writing from Justin Tanner and spot on performances from a talented cast make Rogue Machine’s new season premiere, El Niño, a must see theatrical event.

The first thing you notice as you wait for the play to begin is the incredibly detailed set from scenic designer, John Iacovelli.  Everything feels real on stage, right down to the rain that will eventually fall outside the windows.

Nick Ullett and Maile Flanagan

But what really grabs you as El Niño begins is the edgy, no holds barred dialogue from the loveably pathethic, yet sharply drawn characters who could comfortably meld into an episode of an old Rosanne Barr TV comedy.

Colleen, (Maile Flanagan) a rolly polly woman with an early Beatle haircut, has been kicked out of her home by an abusive boyfriend. We find her sleeping on her parent’s couch. Mother, June (Danielle Kennedy) and father, Harvey (Nick Ullett) clearly don’t want her around. Collen, in their eyes, is a slacker who is soon asked to pack her bags and find somewhere else to waste away. June and Harvey want their space back. Want their privacy. Colleen’s various ailments, however, don’t provide this lady with too many living choices and she convinces them to let her stay until she heals.

Enter, Colleen’s high strung sister, Andrea (Melissa Denton) and her recently acquired boyfriend, Todd (Jonathan Palmer), a veterinarian and a push over who puts up with

The cast of El Niño

more crap from Andrea then most would ever tolerate. Lonely next door neigbor, Kevin (Joe Keyes) also arrives on the scene and when  he discovers that Colleen is the author of a series of science fiction books that he is a fan of, Kevin begins hitting on her.

Collen gradually lets her guard down and the pair are soon making out on the sofa. The messed up family dynamic, however, give Colleen and Kevin a low chance of finding love–but it is mean sprited big sis, Andrea’s hard-hitting revelations that puts the final nails in the coffin. At least that’s what Mr. Tanner wants you to think.

El Niño gradually tugs away at your heartstrings as these hyper-real characters discover their compassion and their humanity. Outside the rain may fall but all ends well in El Niño, not just for our loveable screw-ups but also for the audience who are rewarded with almost none stop laughter.

Melissa Denton, Danielle Kennedy, Jonathan Palmer in El Niño

Maile Flanagan hits every note as the charismatic Colleen. She is a comedy prodigy who should have her own TV series. Danielle Kennedy reveals a powerful matriach, dishing out insult and guarded affection even handedly. Nick Ullett, Joe Keyes, Jonathan Palmer and Melissa Denton also give it their all. This is a connected cast who bounce of each other’s energy. They are a joy to watch. Kudos also go out to director, Lisa James who keeps the show fluid and energized.

El Niño is one of the early hits of 2018. Put on your raincoats and go see it. You’ll thank me later.

When: EL NIÑO runs Saturdays and Mondays at 8:30pm, Sundays at 3:00pm through April 2, 2018 (no performances on March 19th).

Where: Rogue Machine is located in The Met, 1089 N Oxford Ave, Los Angeles, CA 90029.

Tickets: $40.

Reservations: 855-585-5185 or at www.roguemachinetheatre.com 

Social Media Identifiers: #ElNinoPlay Twitter: @RogueMachineLA, Instagram: @RogueMachineTheatre; FaceBook: https://www.facebook.com/RogueMachineTheatre

 

 

 

 

 

 

2018 Oscar Nominations Announced

January 23, 2018

The Academy Award nominations were announced and The Shape of Water received 13 including for best picture. Three Billboards Outside Ebbing, Missouri”and Dunkirk also emerged as strong Oscar contenders in this year’s race.

There were a few snubs and surprises this morning. James Franco’s work in The Disaster Artist was completely ignored by the Academy, both as actor and director, despite the fact that he won a Golden Globe and a Critic’s Choice Award for his brilliant performance. It seems that any accusation of sexual impropriety, proved or unproven is enough to damage a career in this current climate, unless you are Kobe Bryant, who was charged with rape in 2003 and still managed to land a Best Animated Short nomination for his film, Dear Basketball.

Other glaring omissions included Steven Spielberg in the best director category for The Post and that film’s star, Tom Hanks; Also overlooked were Call Me by Your Name‘s Armie Hammer and the excellent Michael Stuhlbarg in the supporting actor category, as well as the film, I, Tonya in the best picture category.

The edge of your seat German film, In The Fade which was sadly ignored by the Academy. It is a strong thriller well worth checking out.

A lot the nominations followed trends set by the Golden Globes and the other award shows, and by the time of the Oscar telecast in March I predict a genereal boredom with the whole process. The Academy Awards really needs to consider being the first and not the last of the award shows.

It was gratifying to see Timothée Chalamet receive a nomination for his powerful turn in Call Me By Your Name. He exploded onto the scene in 2017 and is an actor we will be seeing a lot more of.

The Academy Awards — hosted by Jimmy Kimmel for the second time — will air live March the 4th, 2018 on ABC.

 

 

 

 

Here is the full list of 2018 Oscar nominations:

Best Picture:

“Call Me by Your Name”
“Darkest Hour”
“Dunkirk”
“Get Out”
“Lady Bird”
“Phantom Thread”
“The Post”
“The Shape of Water”
“Three Billboards Outside Ebbing, Missouri”

Lead Actor:

Timothée Chalamet, “Call Me by Your Name”
Daniel Day-Lewis, “Phantom Thread”
Daniel Kaluuya, “Get Out”
Gary Oldman, “Darkest Hour”
Denzel Washington, “Roman J. Israel, Esq.”

Lead Actress:

Sally Hawkins, “The Shape of Water”
Frances McDormand, “Three Billboards Outside Ebbing, Missouri”
Margot Robbie, “I, Tonya”
Saoirse Ronan, “Lady Bird”
Meryl Streep, “The Post”

Supporting Actor:

Willem Dafoe, “The Florida Project”
Woody Harrelson, “Three Billboards Outside Ebbing, Missouri”
Richard Jenkins, “The Shape of Water”
Christopher Plummer, “All the Money in the World”
Sam Rockwell, “Three Billboards Outside Ebbing, Missouri”

Supporting Actress:

Mary J. Blige, “Mudbound”
Allison Janney, “I, Tonya”
Lesley Manville, “Phantom Thread”
Laurie Metcalf, “Lady Bird”
Octavia Spencer, “The Shape of Water”

Director:

“Dunkirk,” Christopher Nolan
“Get Out,” Jordan Peele
“Lady Bird,” Greta Gerwig
“Phantom Thread,” Paul Thomas Anderson
“The Shape of Water,” Guillermo del Toro

Animated Feature:

“The Boss Baby,” Tom McGrath, Ramsey Ann Naito
“The Breadwinner,” Nora Twomey, Anthony Leo
“Coco,” Lee Unkrich, Darla K. Anderson
“Ferdinand,” Carlos Saldanha
“Loving Vincent,” Dorota Kobiela, Hugh Welchman, Sean Bobbitt, Ivan Mactaggart, Hugh Welchman

Animated Short:

“Dear Basketball,” Glen Keane, Kobe Bryant
“Garden Party,” Victor Caire, Gabriel Grapperon
“Lou,” Dave Mullins, Dana Murray
“Negative Space,” Max Porter, Ru Kuwahata
“Revolting Rhymes,” Jakob Schuh, Jan Lachauer

Adapted Screenplay:

“Call Me by Your Name,” James Ivory
“The Disaster Artist,” Scott Neustadter & Michael H. Weber
“Logan,” Scott Frank & James Mangold and Michael Green
“Molly’s Game,” Aaron Sorkin
“Mudbound,” Virgil Williams and Dee Rees

Original Screenplay:

“The Big Sick,” Emily V. Gordon & Kumail Nanjiani
“Get Out,” Jordan Peele
“Lady Bird,” Greta Gerwig
“The Shape of Water,” Guillermo del Toro, Vanessa Taylor
“Three Billboards Outside Ebbing, Missouri,” Martin McDonagh

Cinematography:

“Blade Runner 2049,” Roger Deakins
“Darkest Hour,” Bruno Delbonnel
“Dunkirk,” Hoyte van Hoytema
“Mudbound,” Rachel Morrison
“The Shape of Water,” Dan Laustsen

Best Documentary Feature:

Best Documentary Short Subject:

 “Edith+Eddie,” Laura Checkoway, Thomas Lee Wright
“Heaven is a Traffic Jam on the 405,” Frank Stiefel
“Heroin(e),” Elaine McMillion Sheldon, Kerrin Sheldon
“Knife Skills,” Thomas Lennon
“Traffic Stop,” Kate Davis, David Heilbroner

Best Live Action Short Film:

“DeKalb Elementary,” Reed Van Dyk
“The Eleven O’Clock,” Derin Seale, Josh Lawson
“My Nephew Emmett,” Kevin Wilson, Jr.
“The Silent Child,” Chris Overton, Rachel Shenton
“Watu Wote/All of Us,” Katja Benrath, Tobias Rosen

Best Foreign Language Film:

“A Fantastic Woman” (Chile)
“The Insult” (Lebanon)
“Loveless” (Russia)
“On Body and Soul (Hungary)
“The Square” (Sweden)

Film Editing:

“Baby Driver,” Jonathan Amos, Paul Machliss
“Dunkirk,” Lee Smith
“I, Tonya,” Tatiana S. Riegel
“The Shape of Water,” Sidney Wolinsky
“Three Billboards Outside Ebbing, Missouri,” Jon Gregory

Sound Editing:

“Baby Driver,” Julian Slater
“Blade Runner 2049,” Mark Mangini, Theo Green
“Dunkirk,” Alex Gibson, Richard King
“The Shape of Water,” Nathan Robitaille, Nelson Ferreira
“Star Wars: The Last Jedi,” Ren Klyce, Matthew Wood

Sound Mixing:

“Baby Driver,” Mary H. Ellis, Julian Slater, Tim Cavagin
“Blade Runner 2049,” Mac Ruth, Ron Bartlett, Doug Hephill
“Dunkirk,” Mark Weingarten, Gregg Landaker, Gary A. Rizzo
“The Shape of Water,” Glen Gauthier, Christian Cooke, Brad Zoern
“Star Wars: The Last Jedi,” Stuart Wilson, Ren Klyce, David Parker, Michael Semanick

Production Design:

“Beauty and the Beast,” Sarah Greenwood; Katie Spencer
“Blade Runner 2049,” Dennis Gassner, Alessandra Querzola
“Darkest Hour,” Sarah Greenwood, Katie Spencer
“Dunkirk,” Nathan Crowley, Gary Fettis
“The Shape of Water,” Paul D. Austerberry, Jeffrey A. Melvin, Shane Vieau

Original Score:

“Dunkirk,” Hans Zimmer
“Phantom Thread,” Jonny Greenwood
“The Shape of Water,” Alexandre Desplat
“Star Wars: The Last Jedi,” John Williams
“Three Billboards Outside Ebbing, Missouri,” Carter Burwell

Original Song:

“Mighty River” from “Mudbound,” Mary J. Blige
“Mystery of Love” from “Call Me by Your Name,” Sufjan Stevens
“Remember Me” from “Coco,” Kristen Anderson-Lopez, Robert Lopez
“Stand Up for Something” from “Marshall,” Diane Warren, Common
“This Is Me” from “The Greatest Showman,” Benj Pasek, Justin Paul

Makeup and Hair:

“Darkest Hour,” Kazuhiro Tsuji, David Malinowski, Lucy Sibbick
“Victoria and Abdul,” Daniel Phillips and Lou Sheppard
“Wonder,” Arjen Tuiten

Costume Design:

“Beauty and the Beast,” Jacqueline Durran
“Darkest Hour,” Jacqueline Durran
“Phantom Thread,” Mark Bridges
“The Shape of Water,” Luis Sequeira
“Victoria and Abdul,” Consolata Boyle

Visual Effects:

2018 Golden Globe Nominees Announced

Hollywood, CA: December 11, 2017

It was a great morning for some in Hollywood today with the announcement of the 2018 Golden Globe Nominations.  The brilliant film, “The Shape of Water” scored the most number of nominations with eight, closely followed by the TV series, “Big Little Lies” which received six.

Some of the most prominent snubs were Michael Stuhlbarg for his moving turn in “Call Me By Your Name,” and directors, Jordan Peele and Greta Gerwig who were overlooked for  their films, “Get Out” and “Lady Bird” respectively. Also overlooked was songwriter, Sufjan Stevens, who was snubbed for two powerful songs,  “Mystery of Love” and “Visions of Gideon” from “Call Me By Your Name.”

This has been a banner year for first time nominee, Timothee Chalamet  who scored a Best Actor nod for his lead role in “Call My By Your Name. He can also be seen in the coming-of-age film, “Lady Bird” as well as the western, “Hostiles.”

Some other notable television nominations include the hit show, “Stranger Things” and the compelling British series, “The Crown.”

In most cases the 80 member Hollywood

Timothee Chalamet in “Call Me By Your Name”

Foreign Press Association got it right, but it’s hard to know what they were thinking by nominating Hong Chau for her role in “Downsizing.”  Politics might be a good guess.

 

The 75th annual Golden Globes will take place on January 7, and will be hosted by Seth Meyers.

Here is a fill list of the nominees:

Best Picture – Drama:
“Call Me by Your Name”
“Dunkirk”
“The Post”
“The Shape of Water”
“Three Billboards Outside Ebbing, Missouri”

Best Picture – Comedy or Musical:
“The Disaster Artist”
“Get Out”
“The Greatest Showman”
“I, Tonya”
“Lady Bird”

Best Performance by an Actor in a Motion Picture – Drama:
Timothée Chalamet, “Call Me by Your Name”
Daniel Day-Lewis, “Phantom Thread”
Tom Hanks, “The Post”
Gary Oldman, “Darkest Hour”
Denzel Washington, “Roman J. Israel, Esq.”

Best Performance by an Actress in a Motion Picture – Drama:
Jessica Chastain, “Molly’s Game”
Sally Hawkins, “The Shape of Water”
Frances McDormand, “Three Billboards Outside Ebbing, Missouri”
Meryl Streep, “The Post”
Michelle Williams, “All the Money in the World”

Best Performance by an Actor in a Motion Picture – Musical or Comedy:
Steve Carell, “Battle of the Sexes”
Ansel Elgort, “Baby Driver”
James Franco, “The Disaster Artist”
Hugh Jackman, “The Greatest Showman”
Daniel Kaluuya, “Get Out”

Best Performance by an Actress in a Motion Picture – Musical or Comedy:
Judi Dench, “Victoria & Abdul”
Helen Mirren, “The Leisure Seeker”
Margot Robbie, “I, Tonya”
Saoirse Ronan, “Lady Bird”
Emma Stone, “Battle of the Sexes”

Best Performance by an Actor in a Supporting Role in a Motion Picture:
Willem Dafoe, “The Florida Project”
Armie Hammer, “Call Me by Your Name”
Richard Jenkins, “The Shape of Water”
Christopher Plummer, “All the Money in the World”
Sam Rockwell, “Three Billboards Outside Ebbing, Missouri”

Best Performance by an Actress in a Supporting Role in a Motion Picture:
Mary J. Blige, “Mudbound”
Hong Chau, “Downsizing”
Allison Janney, “I, Tonya”
Laurie Metcalf, “Lady Bird”
Octavia Spencer, “The Shape of Water”

Best Animated Film:
“The Boss Baby”
“The Breadwinner”
“Coco”
“Ferdinand”
“Loving Vincent”

Best Director – Motion Picture:
Guillermo del Toro, “The Shape of Water”
Martin McDonagh, “Three Billboards Outside Ebbing, Missouri”
Christopher Nolan, “Dunkirk”
Ridley Scott, “All The Money in the World”
Steven Spielberg, “The Post”

Best Screenplay – Motion Picture:
Guillermo Del Toro, Vanessa Taylor, “The Shape of Water”
Greta Gerwig, “Lady Bird”
Liz Hannah, Josh Singer, “The Post”
Martin McDonagh, “Three Billboards Outside Ebbing, Missouri”
Aaron Sorkin, “Molly’s Game”

Best Original Score – Motion Picture:
“Three Billboards Outside Ebbing, Missouri”
“The Shape of Water”
“Phantom Thread”
“The Post”
“Dunkirk”

 Best Original Song – Motion Picture

“Home,” Ferdinand
“Mighty River,” Mudbound
“Remember Me,” Coco
“The Star,” The Star
“This Is Me,” The Greatest Showman

Best Motion Picture – Foreign Language
“A Fantastic Woman”
“First They Killed My Father”
“In the Fade”
“Loveless”
“The Square”

Best Television Series – Drama:
“The Crown”
“Game of Thrones”
“The Handmaid’s Tale”
“Stranger Things”
“This is Us”

Best Television Series – Comedy:
“Black-ish”
“The Marvelous Mrs. Maisel”
“Master of None”
“SMILF”
“Will & Grace”

Best Performance by an Actor in a Television Series – Drama:
Jason Bateman, “Ozark”
Sterling K. Brown, “This is Us”
Freddie Highmore, “The Good Doctor”
Bob Odenkirk, “Better Call Saul”
Liev Schreiber, “Ray Donovan”

Best Performance by an Actress in a Television Series – Drama:
Caitriona Balfe, “Outlander”
Claire Foy, “The Crown”
Maggie Gyllenhaal, “The Deuce”
Katherine Langford, “13 Reasons Why”
Elisabeth Moss, “The Handmaid’s Tale”

Best Performance by an Actor in a Television Series – Musical or Comedy:
Anthony Anderson, “Black-ish”
Aziz Ansari, “Master of None”
Kevin Bacon, “I Love Dick”
William H. Macy, “Shameless”
Eric McCormack, “Will and Grace”

Best Performance by an Actress in a Television Series – Musical or Comedy:
Pamela Adlon, “Better Things”
Alison Brie, “Glow”
Rachel Brosnahan, “The Marvelous Mrs. Maisel”
Issa Rae, “Insecure”
Frankie Shaw, “SMILF”

Best Television Limited Series or Motion Picture Made for Television:
“Big Little Lies”
“Fargo”
“Feud: Bette and Joan”
“The Sinner”
“Top of the Lake: China Girl”

Best Performance by an Actor in a Limited Series or Motion Picture Made for Television:
Robert De Niro, “The Wizard of Lies”
Jude Law, “The Young Pope”
Kyle MacLachlan, “Twin Peaks”
Ewan McGregor, “Fargo”
Geoffrey Rush, “Genius”

Best Performance by an Actress in a Limited Series or Motion Picture Made for Television:
Jessica Biel, “The Sinner”
Nicole Kidman, “Big Little Lies”
Jessica Lange, “Feud: Bette and Joan”
Susan Sarandon, “Feud: Bette and Joan”
Reese Witherspoon, “Big Little Lies”

Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television:
David Harbour, “Stranger Things”
Alfred Molina, “Feud”
Christian Slater, “Mr. Robot”
Alexander Skarsgard, “Big Little Lies”
David Thewlis, “Fargo”

Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television:
Laura Dern, “Big Little Lies”
Ann Dowd, “The Handmaid’s Tale”
Chrissy Metz, “This is Us”
Michelle Pfeiffer, “The Wizard of Lies”
Shailene Woodley, “Big Little Lies”