Casting and News: Show Business Weekly

Grease revival pulls a slick one

Musical’s deceptive marketing tactics a new low for Broadway

What does it take to defile an iconic Broadway show? Just ask the producers of the latest revival of Grease.

First there was “Grease: You’re the One that I Want,” the lackluster NBC reality show in which the revival’s leads were cast through an “American Idol”-esque process of elimination. Critics were universally unkind to the program, while the Broadway community was downright offended by its cheapening of the audition process. The show lost close to half its audience by season’s end and had execs at the Peacock wishing they had opted to revive “The Gong Show” instead. Nevertheless, “You’re the One that I Want” successfully cast unknowns Max Crumm and Laura Osnes as Danny Zuko and Sandy Dumbrowski.

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This month, Grease opened at the Brooks Atkinson Theatre to largely unflattering reviews. The New York Times’ Ben Brantley summed up general consensus, calling Grease a “musical set in a high school that feels like a musical put on by a high school.”

Unwilling to take the negative press in stride, the publicity machine behind Grease cooked up an ad for the New York Post to convince theatergoers that the show was a critical success. The ad, created by the Serino-Coyne agency, attributed the glowing quote “The one that I want” to various outlets like New York magazine, Entertainment Weekly and AP, none of which raved about the show. Critics were outraged by the deception, and AP even demanded its name be removed from the ad. Serino-Coyne did not return a phone call requesting a comment.

The ad marked a new low for the entire Grease franchise, one that hasn’t been seen since Donny Most played Frenchy’s guardian angel in the touring production.

It remains to be seen whether or not Grease will be forever associated with this hapless revival. One can only hope we’re spared a future film adaptation featuring Clay Aiken as Kenickie. -Christopher Zara

The City of New York has joined forces with the Motion Picture Association of America in an effort to raise public awareness of the dangers of movie piracy. A series of trailers that demonstrate the poor quality and illegality of bootlegged DVDs began playing last week in New York City taxicabs and theaters. Meant to represent what a typical pirated movie looks like, the trailers show scenes from well-known flicks such as “Titanic” and use the format of the MPAA’s ratings system to “rate” the bootlegged copy as RO (Ripped Off) or F (Fake).

Raising public awareness about movie piracy is just one part of New York City’s efforts to combat the problem. The city also plans to use stricter legislation and tougher enforcement to crack down on pirated movies sold on the street and online, says Mayor Bloomberg. In addition to being illegal, bootlegged DVDs harm the economy, according to a study commissioned by the MPAA. The study suggests that pirated movies account for $1.49 billion in lost output, 22,986 fewer jobs and a loss of $903 million in earnings for New York’s motion picture industry.

These numbers raise fears that the movie industry may be facing a crisis similar to one that the music industry has struggled with for several years. A recent report released by the Institute for Policy Innovation shows that the U.S. economy loses over $12 billion and 71,000 new jobs every year due to the piracy of recorded music. -Christina Jacquet

Cash for CT Arts Groups: Connecticut legislators have approved a significant increase in funding for the arts. A total of $4 million for each of the next two budget years is now committed to “cultural, tourism and arts grants,” which will be distributed by the Connecticut Commission on Culture and Tourism. According to acting executive director Karen Senich, the commission is currently deciding how the new millions will be divided up for grants and hopes to reach a decision by next month. More than $2 million in arts grants was already awarded to 157 non-profits in July. Despite the increase, many art groups are finding the funds inadequate for their needs and are lobbying to secure additional funding. -Rachel Royan

Sing Out Loud: Singers Forum, one of New York City’s most popular facilities for vocal training, will hold an Open House & Free Sample Class Day for the Fall 2007 Semester, giving prospective students the opportunity to sample classes before enrolling. The event will feature abbreviated sessions from such faculty members as Eric Michael Gillett (Frankenstein, off-Broadway) and Mary Cleere Haran (Lincoln Center). No pre-registration is required, and students will receive a 10 percent discount if they sign up for a full session of a group class during the Open House. Singers Forum’s Open House will take place on September 6 from 6-9 p.m. and September 9 from 2-5 p.m. at 49 West 24th Street. Visit www.singersforum.org. -Christina Jacquet

INSIDE INK
By John Rowell

SECOND CHANCE: A FRINGE BENEFIT

It’s true that even the most avid (okay, voracious) theatergoer can sample only a fraction of the nearly 200 offerings of the New York International Fringe Festival. So thanks to producer Britt Lafield, theater lovers will get a second chance at seeing some of the Festival’s most popular shows with the FringeNYC Encore Series. Beginning Aug. 30, the Encore Series will present a dozen works in rotating repertory at two downtown venues: Soho Playhouse and The Theatres at 45 Bleecker. Selected shows will have either been audience favorites, lauded by critics, or both. To find show info and performance times, go to
www.fringenyc-encores.com.

GIVE ‘EM A HAND...

...I mean, for their daring alone (and, yeah, they might need that hand). Removable Parts is a new revue, of sorts, that takes the form of a song cycle about voluntary amputation, asking the musical question: in the name of love, how far might you go? Through playful language, cutting-edge music (no pun intended) and virtuosic live performance mixed with electronic elements, composer/lyricist Corey Dargel and experimental pianist Kathleen Supové explore the damaged parts in each of us (ouch), whether physical, spiritual or psychological. Inspired by psychiatric case studies and online research, Removable Parts takes a sideways look at amputees, devotees and wannabes, with a balance of empathy, understanding and irreverence. (At least there’s that.) A production of HERE Arts Center, Removable Parts begins performances on Sept. 6 and continues through Sept. 15. For more info, visit www.here.org.

Take Me Apart: Cory Dargel wants to lose more than his hair in Removable Parts.

IF IT COMES BACK TO YOU...

The Boomerang Theatre Company is, sadly, one of the only true repertory companies left in New York City. But the good news is that Boomerang will present its 9th season of Boomerang IN REP, furthering the company’s stated mission of continuing to celebrate the classics while creating the new and innovative. This year’s IN REP features three full productions running — you guessed it — in rep, from Sept. 6 to Sept. 30 at Center Stage on West 21st Street. This year’s selections include three short plays by Tom Stoppard that have never been seen in New York, which instantly makes the festival something cool indeed. The Stoppard plays have been grouped under the title of Stoppard Goes Electric. J.B. Priestly’s old classic Dangerous Corner, about a publisher’s dinner party that suddenly goes terribly wrong, is the second entry, and Larry Kirwan’s The Heart Has A Mind of Its Own revisits the events and post-events of 9/11 in a personal, family drama kind of way. The Stoppard plays are directed, respectively, by Rachel Wood, Tim Errickson and Christopher Thomasson, while Philip Emeott helms Dangerous Corner and Cailin Heffernan is in charge of Heart.

TEACHER APPRECIATION WEEK

Most actors have had at least one acting teacher along the way who occupies a special place in their heart — and career. So kudos to author Ronald Rand and photographer Luigi Scorcia for putting together Acting Teachers of America: A Vital Tradition (Allworth Press) a recently published guide to contemporary acting teachers. Among the worthy folks interviewed are such renowned actors, directors and teachers as William Esper, Michael Howard, Michael Kahn, Anne Jackson, Joanna Merlin and Austin Pendleton. (The list goes on and on.) Anyone interested in the specific and fine art of teaching the craft of acting will not want to miss this one. Available at The Drama Book Shop, Barnes and Noble and other bookstores. Visit www.Allworth.com for more info.

SHORT CUTS
By Sarah Ricard

Breaking In

Last week, as part of an “Industry Connect” series, produced by the IFP and sponsored by Warner Independent, producer Mary Jane Skalski (“The Station Agent”), sales agent Steven Rapheal (“Pan’s Labyrinth”), and New Fest executive director Kerry Weldon, spoke candidly about the festival circuit in a panel moderated by Hamptons and Newport Festival programmer, David Nugent. The panel agreed that all aspiring filmmakers should keep Sundance on their radar, because, as Skalski remarked, “It's the place where distributors will take the biggest chances on American independent films.” Another bit of advice: it may not be the best idea for your film to get too much exposure; it hurts distribution potential. Your first screening is most important, so always have a solid press kit and great stills — you want a top-notch image that can be duplicated again and again. In other words, it pays to hire a photographer to come to set, and a good writer to do the press release. It’s not enough to get into Sundance — the film has to be screened, reviewed and sold. Still, you don’t want to harass programmers and distributors at the fest, said the panel, because word of annoying filmmakers travels fast. If Sundance doesn’t happen, the panel advises that you hit the next tier, including the New Directors/New Films series by Lincoln Center and Tribeca. The bottom line is to get your film out there, generate some buzz, but don’t come off as desperate. You’ll get there.

short cut

Fonda Live

On Thursday, September 6, the Museum of the Moving Image will screen “3:10 to Yuma” by director James Mangold (“Walk The Line”). The preview screening will feature a special appearance by one of the film’s stars — the legendary Peter Fonda. Fonda, who gives an evocative performance as a bounty hunter, costars with Christian Bale (sadly not attending the screening), who plays a rancher transporting a dangerous outlaw in this remake of Delmer Daves’s 1957 Western. Based on a story by Elmore Leonard, “Yuma” infuses the genre with freshness and psychological depth. “Reinforced by strong central premise, alert performances, a realistic view of the developing Old West and a satisfying dimensionality in its shadings of good and evil, James Mangold’s remake walks a fine line in retaining many of the original’s qualities while smartly shaking things up a bit,” writes Variety’s Todd McCarthy. Tickets are $12 for museum members and $18 for non-members. For more info, visit www.movingimage.us.

Catching a Killer

Let’s face it: the cost of premium cable is too high for most aspiring artists. Sometimes, if you’re lucky, you can plug the TV into the wall and get a few channels gratis, but with the number of quality programming on the top-tier movie channels these days (“Entourage,” “The Tudors,” “Flight of the Conchords”), you’re missing out on some seriously watch-worthy gems. Take, for example, the first season of “Dexter,” one of the best shows of 2006. Released on DVD last week, the show is available for $29.99 (a much gentler cost than my monthly cable bill — believe me). In this spine-tingling, gripping yarn, Michael C. Hall plays a serial killer who kills serial killers. So, he’s good. Sort of. With superb acting and even better writing, “Dexter” is a must-see for any thriller enthusiast. Still, I can’t help but wonder: are there more movies and shows about serial killers than actual serial killers?