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Amber Tamblyn Leads Classy Quartet In Geffen’s ‘Reasons To Be Pretty’

By | Friday June 27, 2014 @ 10:58am PDT

Amber Tamblyn Leads Classy Quartet In Geffen’s ‘Reasons To Be Pretty’In a move not entirely unlike casting Michele Pfeiffer in a film role originated onstage by Kathy Bates (which is what happened when Frankie And Johnny In The Clair De Lune became Frankie And Johnny), Amber Tamblyn will play a woman who emphatically terminates her four-year relationship with her boyfriend when she finds out he’s described her looks as “regular” when the Geffen Playhouse presents Neil LaBute‘s excellent drama Reasons To Be Pretty next month.

neil labuteShawn Hatosy (Southland, Reckless) is Greg, the thoughtful-but-stuck-in-a-dead-end-job boyfriend of Tamblyn’s Steph, and they will have the pleasure of duking it out in the opening scene, one of the funniest, nastiest, loudest smackdowns ever written, in a flash-flood of epithets that would make Trey Parker blush.

Amber Tamblyn, Alicia Witt Leads Classy Quartet In Geffen’s ‘Reasons To Be Pretty’ Opposite them will be Nick Gehlfuss (Shameless, The Newsroom), as Greg’s not precisely reliable macho friend Kent, and Alicia Witt (Justified, 88 Minutes) as his wife Carly. The show, which was nominated for a Tony best play award in 2009 (which was before it got capital letters), will be staged by Geffen a.d. Randall Arney. The run is July 29-August 31, with the official opening set for August 6.

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Blythe Danner, Scott Foley And A Disinvited Guest At Geffen’s ‘Country House’ Premiere

By | Friday June 13, 2014 @ 2:03am PDT
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'Country House' Premieres In L.A.

Deadline's chief theater columnist Jeremy Gerard is pleased to offer his take on Donald Margulies' Broadway-bound 'The Country House' that premiered at the Geffen -- especially since NY press agents told him to do no such thing.

GerardColumn_badgeI spent some time this week at the Geffen Playhouse seeing two much-talked about premieres. I’d been invited by the theater to see both shows — the first starring Orson Bean in marvelous form as a wise old professor in Steven Drukman’s twisty Death Of The Author and the world premiere of Donald Margulies’ Broadway-bound play The Country House, with a cast headed by Blythe Danner and including David Rasche, Scandal‘s Scott Foley and Sarah Steele, one of the country’s most extraordinary young actors.

countryhouse1But when the New York press agents for The Country House got wind of my plans to see the show, they ordered the Geffen to disinvite me because “national press” — i.e. New York critics — weren’t supposed to be reviewing this starrily cast world premiere of a work by a Pulitzer Prize-winning playwright (Dinner With Friends; The Model Apartment) until it comes to New York in the fall under the aegis of the estimable Manhattan Theatre Club. When I pointed out that while, yes, I am indeed a New York critic, but I work for Deadline Hollywood, the press agents dug in their heels and so I did what I always do in these situations: I bought a ticket. I believe producers should do everything they can get away with to protect their shows — except tell me what I can or can’t review. I work for you, not them.

Let me first acknowledge that director Daniel Sullivan’s already confident production of The Country House is a work in progress (which I’ll revisit when it comes to the MTC’s Broadway house) that will no doubt improve as the remarkable cast — which also includes Emily Swallow (The Mentalist) and Eric Lange (The Bridge) — get more comfortable with one another and their lines. Set in John Lee Beatty’s inviting country colonial home in the storied summer theater festival town of countryhouse3Williamstown, Mass., it concerns the family and friends of a theater grande dame (Danner); her self-pitying playwright-manqué son (Lange); the widower (Rasche) of her beautiful daughter, now dead a year from cancer; his sexy fiancee (Swallow); and his daughter (Steele), a student at Yale. Over the course of a few sumer nights, lust lurks, envy eviscerates, grudges play out and a grown son reveals unresolved mommy issues.

So then: Another mashup of Chekhov plays and themes, in this case from The Seagull and Uncle Vanya among others, with a contemporary overlay including references to the restaurant Orso, a Tesla, February in Louisville, and lines like “Shouldn’t you be out having unprotected sex with people your own age?” The odd thing about the expanding crop of Chekhov-referencing plays involving acting families is that they seem unaware of Chekhov himself. That’s one reason why Christopher Durang’s nutty comedy Vanya And Sonia And Masha And Spike was  so brilliant: The contemporary characters knew they were caught in a Chekhovian tableau vivant. The Country House has some exceedingly funny moments, as well as poignant ones, but it could use a bit more self-awareness along those lines. Instead, it turns maudlin in an overlong Act II that offers three endings when one would do. Read More »

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Blythe Danner Headlines ‘Country House’ Bow At Geffen & On Broadway

"The Commons Of Pensacola" Opening NightBlythe Danner is joined by Scott Foley (Scandal), Eric Lange (Weeds), David Rasche (Speed-The-Plow Broadway, Lunch Hour), Emily Swallow (The Mentalist), and fast-rising star Sarah Steele (Lincoln Center Theater’s Slowgirl, CBS’ The Good Wife) for the world premiere of Donald Margulies’ The Country House. It’s a co-production with the Manhattan Theatre Club, which will present the play in the fall at its Broadway venue, the Samuel J. Friedman Theatre. A comedy-about-family-drama hybrid with the now-familiar Chekhovian overtones, the play begins previews June 3 in the Gil Cates Theater at the Geffen Playhouse in LA, opening June 11. It’s Pulitzer Prize-winning playwright Margulies’ sixth Geffen production. Tony winner Daniel Sullivan (Time Stands Still, Good People) directs. Read More »

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HAMMOND: Gil Cates, A Man For All Oscars

Pete Hammond

R.I.P. Oscar Producer Gilbert Cates

Among his many accomplishments, Gil Cates obviously will be known as the person who produced more Oscar shows than any one in the history of the Academy. Talk to any producer who has done it just once or twice and you will get this astonished look when you tell them Gil Cates did it 14 times in the last two decades. And with his always calm and cool manner, he made it look so easy. Perhaps that is why every producer doing the show in Gil’s off years always sought out his advice — and he always happily gave it as he told me when I interviewed him exactly one year ago about his memories on being the man behind so many Oscarcasts. “I’ve had lunch with each producer and producing team going back to my off years,”  he told me. “The one thing I’ve told everybody is the Oscars is such a big show that no matter what you do there are gonna be people who like it and people who don’t. The most important thing is to do a show you like. There’s no way to get out totally alive. Do a show they find unique and fun and special. That’s a victory.”

Gil Cates had a lot of victories in his long career. As a former president of the DGA, its current secretary/treasurer and its chief negotiator for the last four contracts; as founder of the UCLA School of Theatre, Film and Television; founder and artistic director of the Geffen Playhouse; as director and producer of such multiple-Oscar-nominated films as Summer Wishes, Winter Dreams and I Never Sang For My Father; as well as so many TV films that made a lasting mark on the medium. There’s so much more, but my own personal connection (aside from attending the great theater he oversaw at the Geffen) has always been with the Oscars, and on those occasions when I got to talk to him or interview him I was like a kid in a candy store listening to his stories (sorry, some I just can’t print — off the record). His last show aired in 2008, the year No Country For Old Men won Best Picture. But this was also the year of the writers strike that KO’d the Golden Globes and put a dark cloud over the Oscars until just 12 days before the show was to air, when it was settled. But Cates, with his usual calm of a master negotiator and problem solver, had a Plan A (with all the stars in a strike-free show) and a Plan B (with no stars but a heavy emphasis on history and clips) ready to go, essentially prepping two different shows simultaneously, depending on events out of his control. It’s a good thing he was in charge because a lesser or more inexperienced producer might have cracked under the pressure. Not Gil. In the end, he produced a classy, star-studded show as usual but was ready to deliver whatever cards were dealt. Read More »

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R.I.P. Oscar Producer Gilbert Cates

Mike Fleming

2ND UPDATE, 12:45 PM: Reaction from Hollywood to Gil Cates’ death today is coming fast. The Geffen Playhouse in Westwood just released a statement mourning its founder and producing director, who in addition to his Oscar pedigree led the Directors Guild of America in labor talks and founded UCLA’s film school. From the statement:

Gil was many things to many people throughout the entertainment industry — to the Oscars, one their longest running producers; to the DGA, their longtime president and chief negotiator; to UCLA, the founder of their school of Theater, Film and Television; and to the Geffen Playhouse, he was our founder, our leader and our heart.

“Gil has always referred to the staff of the Geffen Playhouse as his second family” said Geffen Playhouse Chairman of the Board Frank Mancuso. “And it is as a family that we mourn this tremendous loss. Gil built this theater and he will forever be at the center of it – we honor his life by continuing the fulfillment of his dream. As my dear friend Gil would no doubt say ‘onward and upward with the arts.’ “

From DGA president Taylor Hackford: “There are few people in the history of the Guild who have matched Gil’s vision and influence on the organization and our industry. There was no greater champion of the creative and economic rights of directors and their teams and no truer friend to the membership, board and staff of the DGA. For more than fifty years, Gil has served the Guild — as president, as secretary-treasurer, as negotiations chair. It’s impossible to think of a single issue debated, program launched or battle fought on behalf of us all that didn’t have his special touch in its crafting.

From Steven Spielberg: “No one may ever again achieve what Gil Cates achieved in his contributions to the success of the Motion Picture Academy and the Directors Guild. In producing 14 Oscar shows for the Academy and leading the Directors Guild through challenging times and negotiations, he set a remarkable standard for dedication and excellence. He was the most liked person I knew and will be missed by all who knew him as a proud member of our industry and a great pal to everyone.”

UPDATE, 11:19 AM: The Academy has just issued this statement regarding the death of Gilbert Cates: “Gil was our colleague, our friend and a former governor of the Academy,” said Academy President Tom Sherak. “He was a consummate professional who gave the Academy and the world some of the most memorable moments in Oscar® history. His passing is a tremendous loss to the entertainment industry, and our thoughts go out to his family.”

Cates produced the Academy Awards® 14 times between 1990 and 2008, more than any other individual. He was responsible for first bringing hosts Billy Crystal, Whoopi Goldberg, David Letterman, Steve Martin, Chris Rock and Jon Stewart to Oscar’s stage.

Cates served three consecutive terms as a governor of the Academy’s Directors Branch, from 1984 to 1993. He returned to the board for another term beginning in 2002, and held the post of vice president from 2003 to 2005.

PREVIOUS, 10:13 AM: Deadline has confirmed that veteran Academy Awards producer Gilbert Cates died at age 77. Read More »

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