Tag Archives: Bradley Cooper

Friday, November 10, 2017

Has Broadway Become Reliant on Celebrity Draw at the Box Office?

Ticket News Has Broadway Become Reliant on Celebrity Draw at the Box Office? November 9, 2017 By Katie Gainer This week in Broadway news is dominated by reports of “splashy debuts” for singer-songwriter Jason Mraz and comedian-actress Amy Schumer in Waitress and Meteor Shower, respectively. The big stage first-timers brought in huge sales; on the other foot, we’ve seen a trend in shows faltering when its a big name exits a cast. This strong correlation in successes begs the question: is Broadway becoming reliant on celebrity? Jason Mraz, who rose to fame with romantic pop hits like “I’m Yours” and “I Won’t Give Up” in the late 2000’s, joined Sara Bareilles’ Waitress for a ten-week engagement this week. Consequently, gross sales skyrocketed to $900,167; an over $170,000 increase from the week prior and an all-time high since the show’s opening in June. The producers of Waitress, Fran and Barry Weissler, are the same pair that oversaw the revival of Chicago, notorious for guest starring not just famous actors but singers, sports players, and television personalities abound. Steve Martin’s Meteor Shower opened for previews at the start of the month, and the star-studded cast features Keegan-Michael Key, Jeremy Shamos, and most notably, Amy Schumer. Schumer got her start on NBC’s comedy competition show Last Comic Standing in 2007, and quickly became a household name after writing and starring in two movies- Trainwreck with Bill Hader and Snatched with Goldie Hawn- as well as her own sketch show Inside Amy Schumer on Comedy Central. Meteor Shower grossed $631,056 for just five shows, with an average ticket price of $162. Forbes points out that for a non-musical production in a small theater like the Booth, this is a staggering success. The celebrity sales boost is no new trend to the Great White Way: Harry Potter star Daniel Radcliffe hiked sales for How To Succeed in Business Without Really Trying in 2011, as did The Hangover‘s Bradley Cooper for The Elephant Man in 2014 and Panic! at the Disco’s front-man Brendon Urie for Kinky Boots this summer. Bette Midler shattered box office records for her role in Hello, Dolly! this year but consequently, when Ms. Midler takes a vacation, sales plummet. Her first absence in July resulted in a drop of just shy of a million; another vacation last week ranked the show at this week’s highest gross drop of almost $1.5 million. Theater buffs have already begun to speculate the fate of Hello, Dolly! once Bette takes her final bow in mid-January. Producers of Natasha, Pierre & The Great Comet of 1812 had big shoes to fill when multiplatinum singer Josh Groban stepped down from his Broadway debut role as Pierre which, unsurprisingly, led to a half-a-million dollar hit. The role was taken over by Hamilton newcomer Okierite “Oak” Onaodowan – but not for long. When they found out they could score a three-week engagement with film and TV star Mandy Patinkin, producers quickly cut off their engagement with Oak. Sales effects aside, this turned out to be disastrous decision for the show. Cue a social media storm of criticism of the the replacement of a young, up-and-coming black actor with an older, white one; Patinkin dropped out and shortly after, The Great Comet closed. And then there’s the Broadway behemoth that is Springsteen on Broadway…where to begin. Bruce “Working Class” Springsteen has managed to profit millions off of his fans with a brilliant marketing tactic that lets fans boasts their attendance at a concert and a Broadway show at once (if you didn’t Instagram your Springsteen on Broadway Playbill, did you even go?) The show’s run has already been extended once – and is rumored to be again – and has raked in over $11 million for its 25 performances thus far. Although not created by and starring the artists themselves like Springsteen, a number of Broadway musicals have been written about the lives of various celebrities over the years. Let It Be, which follows the career and catalog of The Beatles toured the UK and currently plays to London’s West End, and Beautiful: The Carole King Musical has enjoyed years of success on the West End, Broadway, and touring the U.S. Jimmy Buffet-based Escape to Margaritaville, Ain’t Too Proud: The Life and Times of The Temptations, and The Cher Show are all set to open on Broadway in 2018. The line between stage and film actors has long been blurred – but between sales numbers increasingly dependent on casting debuts and departures, the power of the people to close shows over a casting controversy, and entire shows based around the life and career of stars we know and love – all factors considered, is this the turn of a new celebrity-centric era on Broadway?
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Wednesday, February 1, 2017

BetteBack December 10, 1973: Bette Midler Worried About First Night Stiffs At The Palace

Middlesboro Daily News December 10, 1973 img1211 New YorkBette Midler‘ll haul down about $,100,000 for three weeks of doing her “Irash willi flash” act at the Palace Theater. I^as Vegas salaries have come to New York. Thnt’s $100,000 a week. Six shows a week, $26,000 a show. Jimmy Nedcrlandcr, Ihe personable proprietor of the Palace, said as we wnlclicd the unbelievable opening night lobby stone, “Bette Midler is the biggest grosser in the history of Ihe Palace.” “I was here in ’67 when Judy Garland came in and 1 think this is bigger,” I agreed. We watched the remarkable people shoving in, some normals, some celebrities like Dyan Cannon, Peter Boyle and Julie Newmar. . .some bearded ladies, men in gowns, a barebacked man who stood up and waved, one who had to be hauled off stage. But Judy Garland had cultists too, people with a revival meeting fervor. “You paid 15 dollars!”shreiked the energetic 28-year-old redhead who said she was the only Jewish girl in a Samoan neighborhood in Hawaii and always like the red light districts to walk in because Ihey were interesting. “You could have bought 3 gallons of gas for that kind of money.” “She was worried about the first-night stiffs in the front row. She mimicked them “Dirty girl. . I don’t get it . . .Gross. . .very gross.” She went after Nixon; (old the well known “Deep Throat” story to huge applause Got several standing ovations. Had Ihe greatest stage presence, warmth and personality of any new performer in years. She said she was very tired. “I’ve been standing in line all day trying to get tickets to Ihe Winter Garden lo see Liza Minnelli.” “Went to great expense to get these Hawaiian girls here tonight,” she said. “Had to pay their fare all the way from Broadway and 50th St.” “Listen,” she said once, “whose idea was it to play this dump?” A great one, whomever it was. Slill, Bette Midler, after that madhouse, went over to Improvisation with Peter Boyle and gloomed all over the place that those trussed-up first night stiffs weren’t her people and didn’t appreciate her. I trust the thought of $300,000 for the three weeks will help her accept her fate

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Tuesday, January 31, 2017

BetteBack December 7, 1973: Bette Midler – the biggest grosser in the history of the Palace

Madison Wisconsin State December 7, 1973 img119 NEW YORKBette Midler will haul down about $300,000 for three weeks of doing her “ trash with flash” act at the Palace Theater . Ias Vegas salaries have come to New York. That’s $100,000 a week. Six shows a week, $10.HOT a show. .Jimmy Nederlander, the personable proprietor of the Palace, said as we watched the unbelievable opening night lobby scene, “ Bette Midler is the biggest grosser in the history of the Palace.” “ I was here in 07 when Judy Garland came in and I think this is bigger,” I agreed . We watched the remarkable people shoving in, some normals, some celebrities like Dvan Cannon, Peter Boyle, and Julie Newmar . . . some bearded ladies, men in gowns, a bare-backed man who stood up and waved, one who had to lie hauled off stage. But Judy Garland had cultists too. people with a revival meeting fervor. “ You paid Ii dollars’” shrieked the fiercely energetic 28-year-old redhead who said she was the only Jewish girl in a Samoan neighlxirhood in Hawaii. “ You could have bought three gallons of gas for that kind of money.” She got several standing ovations. Had the greatest stage presence, warmth, and personality of any new performer in years. BetteBack September 11, 1973: Bette Midler – Wonderful Bananas! | BootLeg Betty Fame and money was partly what drove me to leave Hawaii for New York to become a singer when I was 19… | BootLeg Betty Bette Midler: 15 Things You Didn’t Know (Part 1) | BootLeg Betty Jim Bailey, One Of The Great Old School Female Illusionists, Has Died At 77

The 20 amazing Bette Midler facts you can share with your mates at the SSE Hydro ...  Read More

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Monday, January 2, 2017

BetteBack October 4, 1973: Bette Midler – At least we ll be able to say we knew her When

Albuquerque Journal October 4, 1973 CC017 They call her Bette (rhymes with fret) Midler She calls herself The Divine Miss M. She looks like she came out of a 30s nightmare, she sings like she came out of the bluesy 40s (sometimes), she talks like she walked out of the 50s (“and now,” she says, “another blasto from the pasto”), she swears like she came out of the liberated 60s. AND HERE she is. In Albuquerque: Tonight, at Pope joy Hall, the latest stop in a non-stop and very bizarre career. But why A lb u q u e r q u e ? “ W e ’re making,” this Hawaiian Jew declares, “a tour of the tackiest towns in the United States.” Bette Midler is like that. She travels with a vocal troop called the Harlettes and, w rote the National Observer, “they wiggle onstage in low-cut slinky black dresses and red platform shoes as she introduces them: “Three cocktail waitresses, right off the streets.’ ” BETTE FIRST lived in Hawaii. Then a bit part in the movie “Hawaii” which she followed to Los Angeles where much of the filming took place. From there to “Fiddler on the Roof.” And from there to the Continental Steam Baths in the Big Apple, NYC, where she entertained all male audiences dressed in T urkish towels. It was there that the camp, the nostalgia (she loves the Andrews Sisters — “those girls were so pulled together they could raise their eyebrow s in unison,” were born. IT WAS THERE that she began reviving a forgotten American popular music past, and it was there that she was tabbed by Johnny Carson and came to the attention of the rest of these United States. Bette Midler, trading on the past, singing in the present with two eyes on the future, is going to be v e r y , v e r y big — as big, maybe, as the people she s been compared to: Lena Horne, Judy Garland, Edith Piaf and (who else?) Barbra Streisand. She was supposed to be on the cover or Newsweek this week but Spiro Agnew bumped her off. Bumping Bette has been re-scheduled for next week. AFTER THAT, and after the movie contracts she has been offered, and the recording contracts, and everything else, it is safe to predict that the Divine Miss M may never be back to Albuquerque again. Unless the star starts dimming and there is no indication of that. At least we ll be able to say we knew her When.

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    Tuesday, May 19, 2015

    The 5 Best Movies to Buy or Stream This Week

    Flavorwire The 5 Best Movies to Buy or Stream This Week May 19, 2015 rose Temperatures are rising and the multiplexes are filling with big summer blockbusters, which is about all the reason you need to say to hell with it, lock the doors, and watch movies in your living room. It’s a particularly eclectic week on the home video front, with Netflix offering up one of the year’s best films thus far, a monster war movie and a revolutionary Shakespeare adaptation on the new-release shelf, and Criterion presenting two flawed but fascinating almost-classics. ON NETFLIX Girlhood: Writer/director Céline Sciamma takes a slice-of-life approach to the story of Marieme (Karidja Touré), an outcast who falls in — rather easily — with a trio of queen bees, roaming malls, talking shit, getting in fights. The acting is low-key and convincing, the photography is gorgeous, and even the simplest hangout scenes have a ground-level reality that’s downright revelatory. Sciamma captures something indelible about being a teenager, creating perfect moments and dramatizing how they’re shattered; deeply felt, keenly observed, and marvelously acted, it’s far more complicated and difficult than the simple coming-of-age story the title suggests. ON BLU-RAY/DVD/VOD: Cymbeline: I can’t think of a more mangled theatrical release, at least in recent memory, than this one; Michael Almereyda’s adaptation of the Shakespeare play debuted at Venice, only to have its title changed to Anarchy (a more VOD menu-friendly title that nods to its Sons of Anarchy-style biker gang update) until barely a month before release, when it reverted back to Cymbeline. The fact that they couldn’t figure out what to even call the film tells you how good a handle they got on marketing it, but this is a slick, stylish, magnificently acted twist on the Bard that deserves a second life. It reunites Almereyda with his Hamlet star Ethan Hawke, and the approach is much the same: cut the text to the bone, go heavy on voice-over, get clever with the updating (the best one here: a far-carried message conveyed via iPhone text rather than note), transplant into unexpected locations (the resolution here takes place in the parking lot of an abandoned mini-storage facility), and move actors towards conversational naturalism rather then presentation. The entire impressive cast is good, but high marks in particular to Dakota Johnson (proving she’s got dramatic chops to match her comic ones), and the perpetually underused Delroy Lindo, who effortlessly conveys both heft and tenderness. (Includes audio commentary, featurettes, and trailers.) American Sniper: The social and political controversy that surrounded Clint Eastwood’s adaptation of Chris Kyle’s memoir last winter was loud enough (and simplistic enough) to divert critics from its real value: as the kind of lean, mean meditation on masculinity and duty that Eastwood’s always had a talent for, and that his increasingly dire output had hinted might be beyond his grasp at this point. It’s a tense, lived-in, and (yes) psychologically complex portrait of a man of war—and Bradley Cooper is utterly convincing as the figure at its center, haunted by both the things he’s seen and the things he’s done. (Includes featurettes.) ON BLU-RAY: The Rose: Late in Mark Rydell’s portrait of a self-destructive rock star, her boyfriend asks, “Where you goin’?” She responds, simply, “To do what I do!” It’s tossed off, a throwaway line, but it’s the whole movie; she does what she does, whether it’s singing or drinking or loving, and she does it all without moderation. Bette Midler is magnificent in the title role, seemingly channeling both Janis Joplin (on whom it’s loosely based) and, somehow, Courtney Love. It’s a full-throated, energetic, sexy portrayal of a talented nose-thumber who’s adored the world over, yet still defines herself by how much attention and affirmation she’s getting at that moment. Director Rydell’s portrayal of road life is credible — but the real draw here is the cinematography by Vilmos Zsigmond, who shoots the concert scenes (and there are many of them) with the angles and compositions of a concert documentary, and with the help of an all-star team of ‘70s DPs. It grounds the picture, giving Rose’s story an authenticity that helps soften the somewhat monotonous storytelling. (Includes audio commentary, new and archival interviews.) Limelight: It doesn’t take much subtextual dexterity to draw a line from Charles Chaplin’s 1952 drama and its story, of a clown coming to terms with the fact that his time has passed. And to be sure, it’s a melodrama that looks and plays decidedly old-fashioned, even for the early ‘50s. But coming at this point in Chaplin’s career, as perhaps his most earnestly personal picture, it works; the naked emotion and throwback quality works in its favor, rather than against it. And on top of all that, it marks the only onscreen collaboration between Chaplin and Buster Keaton, in a sequence that’s the silent-comedy equivalent of De Niro and Pacino facing off in Heat. Their scenes, both performing and talking shop in the dressing room beforehand, are the highlights of a warm and heartfelt yet often overlooked gem. (Includes video essay, new interviews, featurettes, archival Chaplin recordings, vintage Chaplin short films, outtake, and two trailers.)
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    Wednesday, June 11, 2014

    Waging Good For Veterans

    In honor of D-Day, Got Your 6 reminds us to empower our returning service members with the release of their brand-new PSA. Join Anne Hathaway, Anna Kendrick, Harrison Ford, Bradley Cooper, Gabourey Sidibe, Martin Sheen, Bette Midler, Sally Field, Jason Sudeikis, Goldie Hawn, and Glenn Close to “Wage Good”. Watch below! Got Your 6 is not a charity for veterans, but rather a Hollywood-backed movement designed to empower veterans and challenge them to convert their leadership and operational training into positive civilian roles in communities nationwide. Got Your 6 is a campaign dedicated to bridging the civilian-military divide by advancing the conversation in America, so that veterans and military families are perceived as leaders and civic assets and NOT charity cases. Got Your 6 combines the reach and resources of the top American entertainment studios, networks, and agencies with the expertise and commitment of 30 expert non-profit organizations who focus on specific areas of veteran reintegration.
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    Friday, June 6, 2014

    Video: Got Your 6 Official Celebrity PSA- 2014 with Bette Midler, Sally Field, Goldie Hawn, Bradley Cooper and others!

    PSA Alert: Got Your 6 is a collective impact campaign devoted to changing the conversation around veterans in America. Please join Anne Hathaway, Anna Kendrick, Harrison Ford, Bradley Cooper, Gabourey Sidibe, Martin Sheen, Bette Midler, Sally Field, Jason Sudeikis, Goldie Hawn, and Glenn Close to “Wage Good” and show our nation’s veterans support! Got Your 6 is not a charity for veterans, but rather a movement designed to empower veterans and challenge them to convert their leadership and operational training into positive civilian roles in communities nationwide. This is an effort to bridge the civilian-military divide by advancing the conversation in America, so that veterans and military families are perceived as leaders and civic assets and NOT charity cases. Got Your 6 combines the reach and resources of the top American entertainment studios, networks, and agencies with the expertise and commitment of 30 expert non-profit organizations who focus on specific areas of veteran reintegration.As our service members were taught to wage war, they were also taught to wage leadership… and loyalty… and teamwork. They were also trained to wage compassion and problem solving. They were taught to wage good. Join Got Your 6 to empower returning veterans and military families, and help Wage Good. Got Your 6 is a campaign that unites the entertainment industry with top veteran-focused nonprofit organizations. The goal of the campaign is to bridge the civilian-military divide by creating a new conversation in America, so that veterans and military families are perceived as leaders and civic assets.

    Got Your 6 ensures that our military veterans return home to be seen as leaders and assets Got Your 6 creates opportunities for veterans and civilians to join together to reinvigorate our communities Got Your 6 inspires Americans to understand the unique challenges and opportunities our veterans face upon their return Got Your 6 provides tools, platforms, and resources that Americans can use to better understand veteran and military culture Got Your 6 embodies—for all Americans—the values of duty, selfless service, and mutual respect upheld by those who have served in our military ...  Read More

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