Tag Archives: New Year’s Eve

Tuesday, January 1, 2019

Video: Bette Midler – What Are You Doing New Year’s Eve?

Posted in Bette Midler, Cool Yule, Video, Videos | Tagged , | Leave a comment


Wednesday, July 19, 2017

[when asked by Parade magazine whether she will retire after her show in Las Vegas]

[when asked by Parade magazine whether she will retire after her show in Las Vegas] I think so. I must say, my high kick is just as high as it ever was, thanks to tai chi. But everything is a bit slower. The mind – things don’t stick the way they used to. I feel like I’m going out with a bang. It’s something my husband and I have talked about. I certainly don’t want to die in harness. I’m not one of those people. – Bette Midler

Image may contain: one or more people and people on stage

Posted in Quotes | Tagged , , , , , , , | Leave a comment


Saturday, May 13, 2017

Bette Midler On Briefly Appearing Half Nude At One Performance:

Bette Midler On Briefly Appearing Half Nude At One Performance: “Many people objected but to me it seemed appropriate for New Year’s Eve. I certainly wouldn’t do it on April Fool’s Day.” (Richmond Times Dispatch, January 20, 1978)

Image may contain: one or more people

Posted in Quotes | Tagged , , , , , , | Leave a comment


Saturday, January 7, 2017

A Complete History of the Completely Insane Things That Have Happened at the Golden Globes

W Magazine
A Complete History of the Completely Insane Things That Have Happened at the Golden Globes
by Brian Moylan
January 6, 2017 4:57 pm


you want to see A-list celebrities earnestly thanking their agents, you watch the Oscars. If you want to see the performance that launches a million Beyoncé GIFs, you watch the Emmys. If you want to see drunken movie stars doing completely ridiculous things while accepting trophies of dubious provenance, then you watch the Golden Globes.

It really is the Mariah Carey’s New Years Eve performance of awards shows: things could go horribly awry at any moment, they often do, and when they do you will never ever forget them. Blame it on the booze, blame it on the loose rules of the Hollywood Foreign Press Association, blame it on Miss Golden Globe. This has always been, and will continue to be, the ceremony that we rubberneck hoping that there will be a NASCAR-like disaster. And so often we are rewarded. Read More

Posted in Awards & Ceremonies | Tagged , , , , , , , , , , | Leave a comment


Friday, January 6, 2017

32 New Broadway and Off Broadway Shows Worth Seeing in 2017

32 New Broadway and Off Broadway Shows Worth Seeing in 2017
By Jesse Green
January 5, 2017


Barring last-minute announcements — unlikely because every available theater is booked — 24 productions are scheduled to open on Broadway between now and the Tony Awards cutoff at the end of April. More than five times as many will open Off Broadway during that same window. Without counting the hundreds of smaller events popping up all around the city, or most of what happens in May and beyond, which is still too foggy to bet on, that leaves a vast landscape of stage activity to enjoy. What I’m most looking forward to is the wealth of challenging new plays, even on Broadway, but in every category of theatrical offering, except perhaps clown acts, something compelling beckons. Here’s a highly selective and idiosyncratic look at what’s in store.


=&0=& (previews begin 2/18)
A riveting concept underlies this original work, the first to take on the events of September 11, 2001. It’s about the small town in Newfoundland where 6,579 passengers aboard 38 planes were marooned that terrible day.

War Paint=&2=&
The parallel lives of beauty magnates Helena Rubenstein and Elizabeth Arden get the big Broadway treatment, with Patti LuPone and Christine Ebersole facing off to a score by Grey Gardens greats Scott Frankel and Michael Korie.

=&3=& (3/9)
The 2001 movie, about a French gamine who does good deeds in secret despite her own isolation, teetered on the edge of twee, but I am looking forward to what Craig Lucas makes of the story, and especially to what Philippa Soo, in her first post-Hamilton turn, makes of the title role.

=&4=& (3/23)
Director Matthew Warchus and songwriter Tim Minchin, late of Matilda, take on one of the great concept movies of recent years, in which a TV weatherman wakes up each day to a repeat of the day before. How will they make a musical of it? Andy Karl, a smash in the London production, stars.

=&5=& (3/28)
I never cottoned to the beloved 1971 movie musical (called Willy Wonka & the Chocolate Factory) because of its weird combination of whimsy and psychedelia. But with Marc Shaiman and Scott Wittman writing the new songs, I’m there.


=&6=& (2/2)
Glenn Close reprises her 1994 Tony-winning role as Norma Desmond in this semi-staged production with a huge onstage orchestra. I can’t justify it; I just can’t miss it.

There are at least a dozen reasons this revival is a must-see, including David Hyde Pierce as a curmudgeonly skinflint and the chance to reexamine the ne plus ultra of Broadway Broadwayness circa 1964. But obviously the biggest reason is Bette Midler in the title role; will she descend the Harmonia Gardens staircase in a mermaid outfit?


=&8=& (3/9)
One thing you will barely find on Broadway this season, or any recent season, is a flat-out comedy, which is why I’m looking forward to this British farce about a misbegotten theater company putting on a murder mystery. If this sounds a bit like Noises Off, I’m not complaining.

=&9=& (3/23)
A hit last summer at the Mitzi Newhouse — Lincoln Center Theater’s Off Broadway space — this secret history of the 1993 Israeli-Palestinian accords moves upstairs to the Vivian Beaumont for its Broadway premiere. Downstairs, it was a big play on a big topic that felt squeezed; I’m eager to see how much it expands when it has the room.

This spring brings the welcome Broadway playwriting debuts of Joshua Harmon, with Significant Other; Lynn Nottage, belatedly, with Sweat; and, even more belatedly, Paula Vogel, with Indecent. But I already saw all three plays Off Broadway, so the Broadway newcomer I’m especially looking forward to is Lucas Hnath, with this new play, starring Laurie Metcalf, Jayne Houdyshell, Chris Cooper, and Condola Rashad, that picks up where Ibsen left off in 1879.


=&11=&(In previews)
Of the ten plays in August Wilson’s Pittsburgh Cycle, each set in a different decade of the 20th century, only this one, the 1970s installment, has not appeared on Broadway. (It had a strong Off Broadway run in 2000.) That’s reason enough to include it here, whether or not Manhattan Theatre Club’s production officially counts as a “revival.”

Was it not just three years ago that we had a haunting revival of this Tennessee Williams classic, starring Cherry Jones, on Broadway? So what? If it were up to me it would always be playing, especially in productions featuring the likes of Sally Field and Joe Mantello under the direction of Sam Gold.

=&13=& (2/16)
Every season needs some Arthur Miller; last season had two. This year, his vise-like 1968 drama about two brothers selling their late father’s furniture returns, at the Roundabout, for a fourth Broadway revival. Tony Shalhoub and Mark Ruffalo as the brothers, Jessica Hecht as an alcoholic wife, and Danny DeVito as the crafty furniture dealer make an ideal cast.

Alison Janney takes on the role of Ouisa, the society lady who along with her husband (John Benjamin Hickey) falls victim to a scam that puts their liberal values in question. How John Guare’s 1990 comedy-drama may suit the more cynical zeitgeist of 2017 is something I’m eager to experience.


In the year he turns 87, our greatest living dramatist — I use that word deliberately — gets three (or four?) major productions, reflecting the breadth of his interests and the depth of his achievements.

=&15=& (2/11)
Last summer’s sold-out benefit concert of the 1984 Pulitzer Prize–winning musical reopens Broadway’s Hudson Theater, starring Jake Gyllenhaal as Georges Seurat (and his possible grandson, George). Annaleigh Ashford is his muse.

=&16=& (2/14)
The winner (in a three-way tie) of New York Magazine’s Greatest Musical Ever symposium, this 1979 thriller gets a site-specific Off Broadway revival at the Barrow Street Theatre, restyled as Mrs. Lovett’s pie shop. Meat pies included (but no priest).

=&17=& (4/6)
CSC’s John Doyle directs a rare revival of the least performed of Sondheim’s five 1970s masterpieces, a stylistically daring take on Perry’s “opening” of Japan in the mid-1800s, and the disasters that followed.

=&18=& (Fall?)
Rumor has it that the Public Theater, which has been developing Sondheim’s latest, will offer a full production later this year. That its book by David Ives is based on two Luis Buñuel films — The Discreet Charm of the Bourgeoisie and That Obscure Object of Desire — only whets the appetite further.


=&19=& (2/1)
Our other surviving Golden Age great, John Kander, will be turning 90 around the time this musical — his 20th new stage score since 1962 — debuts at the Vineyard. If you thought Cabaret and Kiss of the Spider Woman were dark, get a load of this one’s story, by Greg Pierce, about a boy who returns home after abduction by a sexual predator.

=&20=& (2/14)
Four years ago, the Public produced Alex Timbers’s spectacular staging of Here Lies Love, about Imelda Marcos. This year, the theater and creative team reunite for a rock-concert retelling of the life of the maid of Orleans.

=&21=& (5/10)
This year’s Encores! series begins with Big River and continues with a rarity: Cole Porter’s 1930 The New Yorkers. Even rarer, and more exciting to cultists, is their third offering, this sung-through 1954 resetting of the Helen-Paris-Ulysses story in turn-of-the-20th-century Washington State.


=&22=& (1/31)
Every new play by Branden Jacobs-Jenkins is a mystery: Will it be hilarious? Devastating? Sadistic? A mess? The mystery deepens with the Signature’s production of his take on the 15th-century morality play Everyman.

=&23=& (1/31)
The premise is a hoary backstage comedy set-up, the kind Wallace Shawn usually undermines in his coruscating plays: Ten years after working together on a notorious flop, its cast and author reconvene. Matthew Broderick, Jill Eikenberry, John “Lypsinka” Epperson, and Claudia Shear star in the New Group production.

Caryl Churchill’s latest play, at BAM. Enough said.

=&25=& (3/14)
It’s been a long time since we’ve seen Harvey Fierstein onstage in a nonmusical role; don’t you want to know what he can do with Martin Sherman’s May–December — well, let’s say October — gay romance, at the Public? Gabriel Ebert is October.

If Annie Baker’s plays were reducible to prose, she wouldn’t write them as theater. That’s hard on the publicists, but good for the audiences who will show up for her latest, at the Signature, open to surprise.

=&27=& (5/16)
Martyna Majok’s Ironbound introduced a distinctive voice to New York audiences in 2016. Her new play, at Manhattan Theatre Club, focuses on two caregivers and two people who suddenly need care.

“If you knew in advance exactly what was going to happen in your life … would you still want to go on with your life?” That age-old question is tested in Bruce Norris’s latest provocation, at Second Stage, when a young woman comes into contact with her future selves.


Martin McDonagh’s 1997 debut is a bleak, hilarious mother-daughter comedy. For the Druid company’s 20th-anniversary revival at BAM, Marie Mullen moves up from daughter to mother: a riveting meta-drama if ever there was one.


Posted in Articles/Essays, Broadway | Tagged , , , , , , , , , , | Leave a comment


Tuesday, January 3, 2017

CELEBRITY NEW YEAR CELEBRATIONS 2017: From Mariah’s Meltdown To Miley’s Make Out Sesh

Movie Pilot
CELEBRITY NEW YEAR CELEBRATIONS 2017: From Mariah’s Meltdown To Miley’s Make Out Sesh
ByKarly Rayner, writer at CREATORS.CO
January 2, 2017 at 09:59AM

New Year celebrations are duplicitous beasts. Every year you are kidded into thinking you will welcome the best version of yourself into a fresh new year among glitter, joy and dazzling fireworks, but instead you end up ugly-crying and puking into your own shoe.

Fear not though, mere (hungover) mortal, because the celebs upon high also fall victim to some pretty heinous NYE hells. Below are some of the star-studded celebrations ranked in order of horror; be warned, deep cringe lies ahead.

Mariah Carey Murders Her Career

It is scientifically impossible to have a worse New Year than Mariah Carey, who got dragged across a stage of pure humiliation like a sack of potatoes to the sound of her own shrill screams.

The moment where the pop diva looks like she is desperately grasping for an escape chord to catapult her the fuck out of there is a perfect end to 2016.

  • Fun Rating: Impossible to comprehend. In the words of Mariah herself “I wanted a holiday too. can’t I just have one?”

Rockin’ The Gym

A photo posted by therock (@therock) on Jan 1, 2017 at 1:18pm PST

I mean, it doesn’t get much worse that Mariah Carey’s New Year ‘celebration,’ but waggling barbells around until the veins in your arms look like sentient spaghetti comes close for me. I love you Dwayne, but nein.

  • Fun Rating: Negative one. Appalling.

Can You Not, Katie Price?

My fancy dress party me as Nikki minaj haha

A photo posted by Katie Price (@officialkatieprice) on Dec 31, 2016 at 1:32pm PST

I’m sorry to all the Americans who have no idea who this, but everything about this picture is as droopy and sad as Katie’s grotesque crinkled fake buttocks so I had to include.

  • Fun rating: The only fun thing about this picture is the thought of the Twitter war it could potentially spark.

Paris Meets Pammy

Ringing in 2017 with my gorgeous girls @PamelaAnderson & @BrandiHowe. Read More

Posted in Announcement | Tagged , , , , , , , , , , | Leave a comment


Saturday, December 31, 2016

Bette Midler & The Harlettes Singing ‘Auld Lang Syne’ From The Divine Miss Millennium Tour December 31, 1999 (Audio Only)

Posted in Announcement | Tagged , , , , , , , , , , , , | Leave a comment


Saturday, July 10, 2010

The Kinsey Sicks Play The Rrazz Room in San Francisco July 6 -18th

Spencer Brown: I thought I’d let you know that I’m living the high life through July 18th with the Kinsey Sicks. We’re playing the Rrazz Room at the Hotel Nikko in San Francisco…and Shayna Steele is doing a show after ours on the 16th & 17th. I’m planning on seeing her show. It’s like 6 Degrees of Bette Midler!

The Bay Area Reporter
The Sicks sense
‘Kinsey Sicks’ Ben Schatz sees humor everywhere
by Robert Sokol

Need a recipe for musical delight? Take four lawyers or activists, add high hair and high heels, sprinkle with Bette Midler, and strain all instruments. Leave the rest to the Kinsey Sicks, currently at the Rrazz Room for an extended run, who are guaranteed to shake things up.

The group was, in fact, founded out of the experience of being the only drag queens at a Bette Midler concert. “Well, the only drag queens other than Bette,” remembers Ben Schatz, co-founding leader of the pack along with Irwin Keller.

Possessed of a dry, quick wit not unlike Bruce Vilanch, Schatz quickly scopes out the parameters of the interview. “Is this going to be an article where you only pull selected quotes, or are you just going to transcribe everything? In other words, do I only have to be occasionally interesting or perpetually interesting?” he asks. “Oh, thank God,” he sighs when assured of the former.

Back at Bette, he remembers that “it was New Year’s Eve, San Francisco, Bette – we figured, why not? We were very considerate drag queens. Even before we formally existed, we had a social conscience and removed our wigs when the lights went down, so as to not completely block the view of the people behind us. It was, however, the last socially conscious thing we’ve done!”

He jests, of course. In fact, Schatz sees the Sicks as keeping a link to their activist roots. “The group is a reflection of who we are as people. Is the purpose of the group to be activist? No. Are those of us who write the lyrics activists at our core? Yes. So sometimes we have a special message, and sometimes it’s just raunchy or silly. The key to the Kinsey Sicks is that we have something to displease almost everybody. Have you had the misfortune of seeing us?”

Lots of people across the land have indeed seen and heard “America’s Favorite Dragapella Beautyshop Quartet!” They’ve recorded several CDs, the most recent being the basis of their current show, and have toured 40 out of 50 states in the Union. They appeared off-Broadway in Dragapella! – a copyrighted term, Schatz advises – and in an extended run at the Las Vegas Hilton. On screen, they made their debut in Kinsey Sicks: I Wanna Be a Republican (2006), and were the subject of the documentary Kinsey Sicks: Almost Famous (2008).

The original 1993 group included Schatz (Rachel), Keller (Winnie), Abatto Aviles (Begona), Maurice Kelly (Trixie), and Jerry Friedman (Vaselina). A year in, Aviles died of AIDS, and his character was not replaced. In 1999, Vaselina gave way to Trampolina when Friedman retired, and Chris Dilley expanded on the character. Currently, Jeff Manabat and Spencer Brown fill the respective heels of Trixie and Trampolina.

The characters are the core of the group, and each is pretty well-defined, though Schatz advises, “The word pretty cannot be used when applied to Rachel in any context. Rachel is very defined, but she sure as hell ain’t pretty!”

“Rachel is a kind of exorcism. She’s the combination of everything I don’t want to be in my life and everything I most want to be. Her essential purpose is to give Ben a fighting chance to be socially appropriate. Before I had Rachel, I would just go places that people who pretended to be respectable simply should not. I was never the buttoned-down, respectable, homosexual lawyer type, though I ‘played it on TV.’ There was always a very, very, very, very bad girl in me that I was fighting to keep from jumping out at any moment. Now she has her place to jump out.”

Before he adopted juris prudence, Schatz did have some youthful theatrical yearnings. “I did tons of theater,” he says, “but I felt that I was not talented enough to make it. It was only later that I discovered that talent was not necessary to be successful as a performer, which was a great relief.”

Still, he deferred to the calling of AIDS activism in the 1980s and early 90s. Now, he says, “The Kinseys give me the opportunity to combine my love of theatre, of making people laugh, and of making music with the chance to shake up the status quo. I’ve always loved to push the envelope, and the Kinseys are a much more effective means of doing that than being a talking head.”

With their 20th anniversary just a few years off, Schatz looks ahead, but cautiously. “This is our Sweet Sixteen year, and we never thought it would last this long. I still pinch myself.” All he asks now is that everyone “say the name of the current show three times out loud to their boss or loved one!”

The Kinsey Sicks in Each Hit & I at the Rrazz Room. July 6-18. Times vary. Tickets ($35-$40): (866) 468-3399 or www.therrazzroom.com

Enhanced by Zemanta

Posted in Articles/Essays, Bette Related | Tagged , , , , , , , , | Leave a comment