Casting and News: Show Business Weekly

NYC steals improv crown from Chicago

Homegrown talent finds success on stage, film and television

Spread the news: New York may be the nation’s new improv capital. The Big Apple is churning out more homegrown improv talent than ever, thanks in large part to the Chelsea-based Upright Citizens Brigade (UCB), whose alumni have been turning up on shows like “Saturday Night Live” and “Late Night With Conan O’Brien,” and films like “The 40-Year-Old Virgin.”

In the past, notable improv talent has been somewhat lacking in the New York scene, whose successful performers traditionally cut their teeth in off-Broadway theaters or on the comedy club circuit. But that began to change in the late ‘90s when Chicago performers Matt Besser, Amy Poehler, Ian Roberts and Matt Walsh arrived in New York and noticed the absence of long-form, Chicago-style improv. In 1999, they opened the UCB Theater and School on West 22nd St. Other theaters, like the People’s Imrov Theater and the Magnet Theater, have followed suit, but UCB remains New York’s largest improv training ground, with a current roster of some 800 students.

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Successful UCB graduates have peaked this year with the premiere of MTV’s sketch comedy program “Human Giant.” The show, which was recently picked up for a second season, consists largely of performers who got their start at UCB, and was created by UCB grad Paul Scheer.

The trend of New York improv performers landing high-profile gigs represents a shift in the hierarchy of improv cities, on top of which Chicago had been sitting for decades. Fifty years ago, Viola Spolin, known as the grandmother of improv, first pioneered the art form in the Windy City. Her son, Paul Sills, later went on to found Chicago’s famed Second City, which has produced an endless list of comedic talent from the past half-century — everyone from John Belushi to Steve Carell. With the success of UCB, however, Chicagoans may have to concede that the improv torch has finally been passed. -Christopher Zara

Here’s some good news for photographers and filmmakers in New York City: Mayor Bloomberg’s Office of Film, Theatre and Broadcasting (MOFTB) has announced that anyone with a camera and tripod wishing to film on the streets of New York may do so without obtaining a permit or liability insurance.

The new proposal comes after huge public outcry over the previous film permit rules, which were first drafted in July and reported by Show Business soon after. Under those provisions, two or more people using a camera and tripod for more than 30 minutes, or five or more people filming for more than 10 minutes, would have needed to obtain a permit and at least $1 million in insurance before shooting. The new draft of the proposal is now open for public comment, and a hearing regarding whether it will be codified will take place on December 13.

“During the rule-drafting process our intention has always been to balance the needs of filmmakers working in New York City with concerns about congestion in public places,” says MOFTB Commissioner Katherine Oliver.

The previous rules, which intended to cut down on this congestion, came with an unintended consequence of restricting amateur filmmakers. The new rule will do more to protect filmmakers, but still aims to cut out obstruction. As long as filmmakers leave at least eight feet or half of the street or walkway (whichever is greater) free for pedestrians and traffic and do not use film equipment like lights, cables and dolly tracks, they may film freely. An optional permit will be available for those wishing to prove their rights to storekeepers and residents. -Christina Jacquet

Pencils Down! After three months of tumultuous negotiations with TV and film producers, the Writers Guild of America has called for a strike, ordering its 12,000 members to cease writing and begin picketing. Guild officials announced the strike plans on Friday, and the work stoppage began Monday at 12:01 a.m. EST. Urging its members not to break the strike, the WGA has released an ad, signed by Tina Fey of “30 Rock” and Greg Daniels of “The Office” among others, bearing the slogan “Pencils Down Means Pencils Down.” The strike will immediately affect scripted daily talk shows like “The Late Show With David Letterman” and will eventually interrupt production of movies, soap operas and scripted TV series. -Christina Jacquet

Insult to Injury: An actor who suffered an injury while performing in the Broadway musical Hairspray has filed a $1.5 million lawsuit against the show’s producers. Joel Vig, 54, claims that he was wrongfully fired from the Tony-winning show shortly after having surgery on his knee. While Vig admits that he worked for about six months after becoming injured, he says he did so at the request of the show’s stage manager. The show’s managers were unaware of the lawsuit, according to a statement issued by Hairspray spokesman Don Summa. Vig, who played five roles in the show, claims he has lost more than $450,000 in salary and benefits since he was fired in 2004. -Christopher Zara

INSIDE INK
By John Rowell

HERE, BABY, HERE

It’s no secret that Christopher Durang has long been one of our funniest playwrights, but suddenly the theater community finally seems to be recognizing him as not just a funny writer, but a seriously important and influential one as well. Later this season, a new full-scale New York revival of one of Durang’s best plays, The Marriage of Bette and Boo, is due. Until then all you Durangphiles, like myself, will want to check out Ground UP Productions’ staging of Baby With The Bathwater, the playwright’s hilarious and heartbreaking look at parenting skills gone awry, with a cast that includes Karen Culp, Anna Fitzwater, Jeremy King, Gina Restani and Victor Verhaeghe. Kevin Connell is the director, and performances run Nov. 7-17 at Manhattan Theatre Source. 212-358-3921

HOT KEYS

In Julia Cho’s The Piano Teacher, which opens the Vineyard Theatre’s 2007-08 season, award-winning actress Elizabeth Franz stars as Mrs. K, a retired piano teacher who seeks out her former students, curious as to why they suddenly stopped taking lessons years before. (There must be clues in them there keys...) Cho is the author of such successful off- and off-off Broadway plays as Durango, Bee, and others, and Franz is a Tony winner for Death of a Salesman and an Obie winner for her performance in the original off-Broadway production of Durang’s Sister Mary Ignatius... Bethany Butler and John Boyd co-star, and Kate Whoriskey directs. Opening night is set for November 18 at the Vineyard.

I WON’T SEND ROSES

He’s arguably one of Western literature’s grandest and most appalling villains — despicable and fabulous at the same time. In some ways you can’t help but root for Richard III, the title character of Shakespeare’s great tragedy of the same name, especially when so many of our most famous classical actors have chewed up the part so brilliantly, Sirs Laurence Olivier and Ian McKellen among them. Now Richard and his Wars of the Roses are sure to come roaring back to brilliant life courtesy of Classic Stage Company. Brian Kulick co-directs and Michael Cumpsty co-directs and stars in a new production that has just begun performances at CSC. Cumpsty (who has also just been announced as one of the leads in the Roundabout’s upcoming revival of Sunday in the Park with George) has proven to be one of New York’s finest contemporary classical actors, and in Richard III, he will be aided and abetted by such veteran classical performers as Craig Baldwin, Philip Goodwin, Roberta Maxwell and Maria Tucci — think of it as royalty playing royalty. Opening night set for Nov. 13. www.classicstage.org

MULTI TASKER

Want to be one of the first to see what is certain to be a provocative new musical with a future life? On Nov. 13, 14 and 15, Eric Krebs and Amas Musical Theatre will present a reading of a new musical entitled Lorenzo, about a poor immigrant who becomes a priest, then an inmate, then a grocer, then the first professor of Italian at Columbia University, as well as the writer of the librettos for Mozart’s three great operas, Cosi Fan Tutti, The Marriage of Figaro and Don Giovanni. Now there’s a career path. Christopher Scott directs a cast that includes Bradley Dean, Joel Blum, Kathy Calahan and Steve Sterner. Performances take place at the Players Theater each day at 6 p.m., and seats are available to the public each evening, subject to availability.

Chips and Bullets: Jessica Pohly plays Bingo with the Indians in Adam Rapp’s new play at the Flea.

AROUND TOWN

A Midwestern stewardess who becomes President is the subject of Things Are Going to Change, I Can Feel It, an absurdist comedy by Michael Smart presented in multi-media format from Immediate Medium, one of New York’s most provocative new theater companies. The show is currently running at The Tank @ Collective Unconscious on Church Street... In celebrated playwright Adam Rapp’s latest, Bingo With The Indians, a disgruntled East Village theater company descends upon a small New England town with a plan to pay for their next production by heisting the local bingo game. Bingo is under the eye of the Flea Theater, whose resident acting company The Bats are featured in the cast. Rapp directs his own script, and opening night is set for Nov. 9... X marks the spot for a “happy ending” (yes, that kind) in writer/performer Cindy Pierce’s Finding The Doorbell, a hilarious ode to the female anatomy directed by Mary Catherine Burke, which plays The Wings Theatre from Nov. 7-10. www.Cindy-Pierce.com. Now here’s a watercooler question: If I write a sequel to Finding the Doorbell, this one being an ode to the male anatomy, natch, can I call it... Ding Dong? Just asking.

SHORT CUTS
By Sarah Ricard

TAKE THE CREW TO LITTLE RHODY

Rhode Island: Not just for Farrelly Brothers movies anymore. Last week, MovieMaker Magazine spotlighted our nation’s wee-est state as a fine backdrop for filmmakers, so New Yorkers might want to consider a thing or two: Rhode Island, for its size, has quite a number of worthy locations, from the urban (fans of Showtime’s “Brotherhood” will recognize Providence’s proud little skyline), to the beach (they don’t call it the Ocean State for nothing). With many historic buildings, not to mention colleges and universities, Rhode Island scenery could provide the appropriate background for a number of stories. Moreover, Rhode Island offers several helpful incentives and programs to aid moviemakers, including the Rhode Island Tax Incentive Law, which promises a 25 percent transferable tax credit for all in-state spending for movies with a budget of at least $300,000. Also, frequent, affordable public transportation from NYC to RI makes moving small crews a cinch. Not to mention, there are Dunkin Donuts everywhere.

ATTICA! ATTICA!

Unavailable for 30 years, Cinda Firestone’s arresting documentary, “Attica,” has been restored and will make a return to the big screen on November 8, at the Film Society of Lincoln Center. Co-hosted by the Women’s Film Preservation Fund of New York Women in Film & Television, “Attica” is the story of the aftermath of the uprising at Attica State Prison on September 9, 1971, when inmates revolted and seized 35 hostages. As a result of the seize, troops were called in and 43 people ended up dead. Three years later, Firestone pieced together documentary footage of the occupation and ensuing assault with video from the McKay Commission hearings, criticizing the handling of the incident. The film is cut with firsthand interviews of prisoners who were discharged after the event, and paints a graphic portrait of social unrest in 1970s America. And you thought “Attica” was a “Dog Day Afternoon” reference. www.filmlinc.com

THE RULES, THEY ARE A-CHANGIN’

Back in July, filmmakers in the city were up in arms over new permit rules sent down from on high (by the way, “on high” would be the Mayor’s Office of Film, Theatre and Broadcasting). As a result of those proposed stringent rules, and protests from orgs like Picture NY — a grassroots coalition spearheading the movement with petitions and demonstrations — last week the MOFTB issued a draft of amended permit rules. In the original proposal, any group of two or more people using a camera in a public location for more than half an hour, and any group of five or more people using a tripod for more than 10 minutes, would have needed permits and at least $1 million in insurance. In other words, if you and your meetup.com photography club wanted to go snap pics of dogs in Washington Square Park, you’d have to pony up for a liability certificate and a permit from the Mayor’s Office. Seems idiotic, right? Well, MOFTB was being sued — and this is what people do when they get sued. Under the new proposal, however, photographers and filmmakers who are not using vehicles or serious equipment (dolly tracks, lights, cables, etc.) can proceed without permits on public property, so long as they stay out of traffic and their activities do not prevent public use. And remember to behave yourselves — another lawsuit and they are so bringing the permit rules back.