Please enable javascript to view this site.

Image Image Image Image Image Image Image Image Image

The Latest in ShowBiz News

Jack Rico

By

2011/09/13 at 12:00am

Thor

09.13.2011 | By |

Thor,’ the first Marvel superhero film of the year, debuts this weekend to high expectations from cinephiles to film executives. This film adaptation is faithful to the mythology of the comic book hero, has a well blend of humor and drama, is visually stunning, but stumbles through the end, and although it recovers, it does not manage to have a place in the pantheon of superhero classics such as ‘Superman II’ and ‘The Dark Knight.’ However, the film, mostly, is great popcorn fun and is worth spending the money to see, especially in IMAX 3D.

For those who have not had the pleasure of reading the comics of the blond Norse god, it centers around the mythical Thor (Chris Hemsworth), a powerful but arrogant warrior whose reckless actions against an old icy foe reignite an ancient war. He is then banished to Earth by his father Odin (Anthony Hopkins) and forced to live amongst the human race. But it is here where he faces the wrath of his evil brother Loki (Tom Hiddleston) who sends a nearly indestructible robot of Asgard to Earth. Thor must regain the strength of his thunderous hammer and discover what it takes to be a true hero.

‘Thor’ is by no means meant to be a masterpiece, nor is it intended to win Best Picture at the Oscars. The story written by a trio of writers has holes, some scenes are too long, and some are too short, such as the grand fight on Earth. It is also predictable and offers nothing new that we haven’t seen. It simply fulfills its objectives to entertain, overwhelm the senses with its radiant special effects, deliver millions of dollars at the box office and to serve as a preamble to ‘The Avengers’ in 2012. If that’s what it set out to do, I cannot criticize those goals if its purpose is to create a mental escape for lovers of this genre. Director Kenneth Branagh and production designer Bo Welch managed to suspend reality for us for a couple of hours and transport us to the heavenly realm of Asgard.

The performances from the cast are solid, but Hemsworth as Thor, who at first seemed a skeptical choice, is a bonafide star in the making. His charisma is attractive to women and his demeanor brings respect from men. Although his performance has touches of stiffness, he’s endowed with a good voice and good looks. There is no reason why with a few more movies under his belt, the big Australian can become a bigger action star than they overrated Sam Worthington.

The romantic interest of ‘Thor’ is Jane Foster, played by the recent Oscar winner Natalie Portman. The chemistry between them is good but not magical. At first they seem a strange couple, but under the scope of some of the scripts comical situations, she manages to make it work. Hopkins is once again an actor who makes makes great with what he has, but I’m not sure his role as Odin, Thor’s father, is the kind of role that stimulates his creative juices.

The best scenes of the film are the electrifying battle between the Norse gods and their archenemies, the mighty ice giants. Indeed this is where we see the full power of the magic hammer Mjöllnir and it is only in stunning 3D IMAX that it can truly be appreciated.

With a duration over two hours, the film has 20 minutes of excess fat that would fair better if you eliminate some scenes as is the case of the inebriated sequence with Thor and Dr. Erik Selvig (Stellan Skarsgard). It also did not help that the outcome of the denouement didn’t possess the tense spitting vibe of ‘The Incredible Hulk’. Overall, ‘Thor’ has charm and delivers a satisfying popcorn movie that one will not feel remorseful to have paid to see. I suggest you stay for the end credits (it takes about 3 minutes or so) to see the hidden scene that gives a clue to what to see in ‘The Avengers’ for next year.

Jack Rico

By

2011/09/13 at 12:00am

The Book of Mormon: From Broadway to Hollywood

09.13.2011 | By |

The Book of Mormon: From Broadway to Hollywood

When the work The Book of Mormon opened on Broadway this year, it was  was one of the most anticipated musical of the year. Hispanic writer Robert Lopez was brought on by the creators of ‘South Park’, Trey Parker and Matt Stone, to insure musical numbers and an uproarious comedy. The show won nine awards, including Best Musical at the Tony’s this year.

With such good results, the creators have confirmed that ‘The Book of Mormon’ is set to debut in screens soon.

However, their fans will have to wait for the show to complete a U.S. tour that will start next summer, before they start shooting.

“The Book of Mormon” is a satire starring two young Mormon missionaries on assignment in a remote village in Uganda.

Parker and Stone are not fearful of the polemics in their first work, which parodied the history of the Mormon church, the ritual of baptism sexuality and included many politically incorrect jokes that mixed with the adventures of two missionaries in Africa.

“If you can see a normal chapter ‘South Park’ with your kids, you probably should not bring them to music. But it is not nearly as gross or indecent as we’ve ever done. We could do much more,” said Stone.

Jack Rico

By

2011/09/13 at 12:00am

Juan Carlos Fresnadillo to direct ‘Highlander’

09.13.2011 | By |

Juan Carlos Fresnadillo to direct 'Highlander'

The remake of Highlander, which starred Christopher Lambert, has been given the greenlight by Summit Entertainment to have its new director, Spanish filmmaker Juan Carlos Fresnadillo, who directed 28 Weeks Later and now, four years later, has Intruders opening at TIFF, to direct the remake.

Juan Carlos Fresnadillo will direct Summit Entertainment’s re-imagination of the cult film HIGHLANDER co-financed by RCR Media Group.  Summit’s HIGHLANDER is written by Art Marcum and Matt Holloway.  Neal H. Mortiz and Peter Davis will produce the project along with Enrique López Lavigne and Belen Atienza.  RCR Media Group’s principles Rui Costa Reis and Eliad Josephson will executive produce the film.  Justin Lin will also executive produce. Summit acquired the rights to remake the cult classic from Davis – Panzer Productions, Inc. in May of 2008.  Production on the film is slated to begin spring of 2012.

The Highlander premise goes like this:

He fought his first battle on the Scottish Highlands in 1536. He will fight his greatest battle on the streets of New York City in 1986. His name is Connor MacLeod. He is immortal. Connor Macleod was born in 1518 in the Highlands of Scotland. In 1536, after facing a mysterious, evil opponent, he survives a fatal stab wound and is banished from his village, for they believe his survival is the work of the Devil. Five years later, Macleod is met by Juan Sanchez Villa-Lobos Ramirez, a swordsman who teaches Macleod the awful truth; he is immortal, one of a race of many who can only die when the head is cut from the body. When one immortal takes the head of another, the loser’s power is absorbed into the winner. Ramirez teaches Macleod the ways of the sword, until Ramirez is tragically killed by Connor’s ultimate opponent, the evil Kurgan, a murderous immortal brute who lusts for the ultimate power of the immortals, “The Prize”; enough power to rule the earth forever. Connor fights his way through the centuries, until the time of the Gathering, when the few immortals who have survived the endless battles come together to fight until only one remains, and that winner will receive The Prize. The time: 1985. The place: New York City. The final fight is about to begin, and in the end, there can be only one.

Mack Chico

By

2011/09/12 at 12:00am

Penélope Cruz begins ‘Venuto al mondo’ shoot

09.12.2011 | By |

Penélope Cruz begins 'Venuto al mondo' shoot

Spanish actress Penelope Cruz on Wednesday arrived unexpectedly in Sarajevo, where she will film “Venuto al mondo,” a drama directed by Sergio Castellitto.

“Venuto al mondo” is the film adaptation of the same-named novel by Margaret Mazzantini, Castellitto’s wife and one of the most popular writers in Italy.

Cruz will play the role of Gemma, a single mother who accompanies her teenage son to modern-day Sarajevo, the birthplace of his father, who died during the 1992-1995 war in Bosnia.

Participating in the project are Bosnian production companies Pro.ba and Deblokada.

The Oscar-winning actress has worked with Castellitto before on his 2004 film “Non ti muovere.”

Jack Rico

By

2011/09/12 at 12:00am

Broadway review: Follies

09.12.2011 | By |

Broadway review: Follies

It is 1971. The place is New York City and before the demolition of his landmark theater, Dimitri Weismann (David Sabin) summons his former actors and dancers to reunite and relive for one last time the glory days of his ‘Weismann Follies.’ While there, two couples (Bernadette Peters, Danny Burstein, Jan Maxwell, Ron Raines) relive the old memories of when they first met and reexamine their present lives, in particular, their marriages. It will definitely be a night they’ll never forget.

This is the interesting premise of ‘Follies,’ the James Goldman and Stephen Sondheim musical revival that leaves the stage of The Kennedy Center in Washington D.C and moves over to the brights lights of Broadway at the Marquis Theater. Before I even sat down to see it, word was out that ‘Follies’ was the show to beat headed into the Tony’s in 2012. Well, how could you argue with that after Ben Brantley from The New York Times wrote that “Follies is one of the greatest musicals ever written”. Literally that might true, but the performance I saw was far from it. It was a night of highs and lows punctuated by a shockingly and rare disappointing performance from Bernadette Peters. The iconic actress seemed narcotized and sang off-key most of the night, especially during her “show-stopping solo” – Losing My Mind. Even the best have a bad day here and there. Nevertheless, her co-stars kept the ship steady and the direction from Eric Schaeffer was solid.

Bernadette Peters

The book by James Goldman can only be described as a somber and stark take on marriage, nostalgia and growing old. The themes it takes on are unfortunately all bleak: divorce, recalling your prime and confronting your present mortality, infidelity and unwanted change. But that doesn’t mean musicals of this nature are destined for gloom and doom. No sir, shows like ‘Next To Normal’ (a depressing and demoralizing show if I ever saw one) have demonstrated that as long as the music is infectious and the performances are moving and sincere, you can be as hopeless as you want. ‘Follies’ regrettably, doesn’t compare to the latter show due to its slow, lulling pace, it’s forgettable music and unappealing characters. And perhaps if Ms. Peters delivered more of a ‘sober’ and spirited performance, my experience might have been better. Perhaps Mr. Schaeffer can offer other ways for the character of Sally to live within her. There was no question in the theater that the night belonged to Jan Maxwell who received the most thunderous applauses of the night along with Elaine Paige who gave a delightful and charismatic supporting performance. They unequivocally eclipsed Ms. Peters right off the stage. There was nothing absolutely memorable of her interpretation except her name.

I would catalog the first act of the program as a blend of heartbreak, cynicism and humanity. Some of the numbers and characters weren’t necessary and I would say some of it bogged down the production. The second act is the one worth seeing due to the colorful and visual dreamscape sequences, lively choreography and some emotional performances. Overall, what really stood out to me was the remarkable lighting design of Natasha Katz which introduced the younger versions of the elderly showgirls in a beautiful and inventive way. It was a treat to see to see how the stars stayed in color light while their ghosts were lit in blues and greens.

Jan Maxwell

There are some crowd pleasing numbers to look forward to such as the nostalgic opening number, ‘Beautiful Girls,’ the vivacious ‘Who’s That Woman,’ Elaine Paige’s inspiring solo ‘I’m Still Here’ and Jan Maxwell’s vengeful ‘Could I Leave You’ and her sassy and sensual ‘The Story of Lucy and Jesse’.

Inside the Marquis Theater, Derek McLane’s gray and dilapidated drapes blanket the whole auditorium while the stage design offers an authentic feel of a historic place ready to say its goodbyes.

On a curious note, if you see Mr. Raines forgetting his line towards the end of his solo act, ‘Live, Love, Laugh,’ it is intentional and part of the act. Don’t go thinking you saw a ‘live’ error.

Schaeffer’s ‘Follies’ is in concept engrossing, but alas, it possesses challenges that don’t translate to a great night out nor the best of the Sondheim collection.

Ted Faraone

By

2011/09/11 at 12:00am

Contagion

09.11.2011 | By |

Contagion

There are several things wrong with “Contagion,” the latest from helmer Steven Soderbergh.  The most egregious is Warner Bros.’ US marketing campaign which uses taglines including “The world goes viral September 9,” “Don’t talk to anyone,” “Don’t touch anyone,” and the heroic “Nothing spreads like fear.” Oh, please!

 

This is nothing more than a cynical attempt to hypo a less-than-average big-budget picture featuring a big-name cast who could have been used far better in another vehicle — almost any other vehicle.

 

Plot revolves around a pandemic, worse than SARS, worse than H1N1, and probably worse than AIDS, although none of the creators has the fortitude to say so in as many words.

 

Structure takes its cue from some successful pics, such as “It’s a Mad Mad Mad Mad World,” “Crash” (2004), and “Babel,” wherein several storylines are intercut and woven into one.  Title cards help the exposition, of which pic is bedeviled by too much.

 

The big cheat comes into play in the final reel, where the origin of the pandemic, which is not exactly a mystery, is revealed in flashback.  To make matters worse, said revelation is no more than a bit of mudslinging at multinational corporations and at China.

 

Your critic has not brief for or against cross border businesses.  He couldn’t care less unless he owns stock in one of them.  The fictional corporation unwittingly at the heart of the “Contagion” pandemic is no more than a straw man set up in the final reel to give “Contagion” a degree of social significance — and create a villain for auds to hate.  Pic also takes a low view of Chinese agricultural hygiene, which shares blame for killing something like two or three percent of the world’s population.  Your critic also has little to say about China other than what Noël Coward wrote in “Private Lives”: “Very large.”  Malthusians should love this picture.  “Contagion” is sort of a bad version of “The Andromeda Strain.”

 

“Contagion” is billed as an action, sci-fi thriller.  Two out of three aren’t bad.  It falls short in the thriller part.  It does, however, boast a very attractive cast of stars including Matt Damon, pic’s sole sympathetic character, who appears to be immune to the disease, Marion Cotillard, who appears to be on her way to becoming the French Charlize Theron in that she never looks the same in two pictures, as a World Health Organization official, Kate Winslet as a US public health field agent, and Laurence Fishburne as the Centers for Disease Control honcho (also her boss) who directs the US end of the investigation into the pandemic.  Also central to the plot is Gwyneth Paltrow, who gets to appear without makeup, a mistake she should never again make in any picture, and who is central both in the opening and final reels to the denouement — even though she dies in pic’s first 20 minutes.  Jude Law appears in an unlikely role as a corrupt blogger attempting to profit from the pandemic.  His character’s name, Alan Krumwiede, is blatantly allegorical.

 

Give the filmmakers credit for sledge hammering home a point:  Paltrow in the opening reel is in Hong Kong on the phone with her boyfriend in Chicago discussing a tryst.  Her wedding and engagement rings take center screen.  If anyone thinks that this scarlet letter has nothing to do with pic’s action, he or she should go back under his rock.  This is about the most blatant giveaway your critic has ever seen.  She plays the Minneapolis-based Damon’s wife.

 

Another significant plot element is the official Chinese penchant for covering up disasters, even of the epidemiological sort, such as SARS.  Your critic had the benefit of the very attractive amateur film critic who makes her living as a doctor in international practice to confirm that pic is correct on the Chinese behavior as well as the medical facts.  Filmmakers at least got the context right.  But as the beautiful doctor also said, “If they found a guy like Matt Damon who was immune to the virus, they would have been all over him.”  “They” in this case are the US public health authorities.  In pic, Damon is more or less ignored or treated as a nuisance.

 

Unfortunately, in this ensemble pic, Damon is wasted to the extent that as its most sympathetic character, he does not get enough screen time.  Augmenting his role might have given auds someone for whom to root.

 

But pic’s biggest waste is the legendary Elliott Gould.  He gets only one fabulous moment, about half an-hour into pic, as a San-Francisco based epidemiologist who violates CDC orders to destroy his virus samples and gives the world its first real insight into the nature of the bug that kills almost without warning.  Note to filmmakers:  If you cast Elliott Gould, at least give him enough to do!  If you don’t believe your critic, have a look at “The Caller” (2008).

 

In pic’s favor are staccato scenes, one right after another, which move the plot along.  It has no fat.  It is short on character development, but it is clear that other than Jude Law, pic’s bad guy is the germ, and it’s tough to write dialogue for a microbe. Title cards help put pic’s action in chronological context.  About two thirds of the way through, “Contagion” develops a breakdown of society, a theme Fernando Meirelles handled so much more eloquently in “Blindness.”  Unfortunately, Soderbergh does not rise to Meireilles’ hights.

 

“Contagion” carries a PG-13 rating.  It runs 105 minutes but feels longer.  Editing by Stephen Mirrione is crisp.  Lensing by director Steven Soderbergh, himself, is workmanlike but displays a few flaws.  Sound recording could be better.  Some key lines of dialogue are inaudible.  Production design is more than adequate, and kudos go to Howard Cummings for keeping it simple and straightforward.  Thesps all turn in above par performances.  It’s a pity that Scott Z. Burns’ screenplay and Soderbergh’s direction make “Contagion” less than the sum of its parts.  It will depend on star power, which it has in spades, for revenue.  Take the kids.  They’ll probably laugh at the unintentional humor in a picture utterly devoid of comic relief.  A professional screening audience did.

Jack Rico

By

2011/09/08 at 12:00am

John Leguizamo costars in Heigl’s ‘One For The Money’

09.8.2011 | By |

John Leguizamo costars in Heigl's 'One For The Money'

After his Ghetto Klown Broadway extravaganza, Colombian actor John Leguizamo is getting ready for his costarring role next to Katherine Heigl in ONE FOR THE MONEY. We have the new poster, check it out below.

Heigl stars as Stephanie Plum from the popular heroine of Janet Evanovich’s worldwide best-selling sixteen-book mystery series – to vibrant life in Lionsgate and Lakeshore Entertainment’s movie.

A proud, born-and-bred Jersey girl, Stephanie Plum’s got plenty of attitude, even if she’s been out of work for the last six months and just lost her car to a debt collector.  Desperate for some fast cash, Stephanie turns to her last resort: convincing her sleazy cousin to give her a job at his bail bonding company…as a recovery agent.  True, she doesn’t even own a pair of handcuffs and her weapon of choice is pepper spray, but that doesn’t stop Stephanie from taking on Vinny’s biggest bail-jumper: former vice cop and murder suspect Joe Morelli – yup, the same sexy, irresistible Joe Morelli who seduced and dumped her back in high school.

Nabbing Morelli would be satisfying payback – and a hefty payday – but as Stephanie learns the ins and outs of becoming a recovery agent from Ranger, a hunky colleague who’s the best in the business, she also realizes the case against Morelli isn’t airtight. Add to the mix her meddling family, a potentially homicidal boxer, witnesses who keep dying and the problem of all those flying sparks when she finds Morelli himself…well, suddenly Stephanie’s new job isn’t nearly as easy as she thought.

ONE FOR THE MONEY is a fresh, funny action-comedy directed by Julie Anne Robinson and also starring Jason O’Mara, Daniel Sunjata, John Leguiziamo, Debbie Reynolds and Debra Monk.  Lionsgate and Lakeshore Entertainment present a Lakeshore Entertainment Lionsgate Wendy Finerman production in association with Sidney Kimmel Entertainment Abishag Productions. Directed by Julie Anne Robinson.  Screenplay by Stacy Sherman & Karen Ray and Liz Brixius.  Based on the novel by Janet Evanovich.

Jack Rico

By

2011/09/08 at 12:00am

Keira Knightley, Jude Law to star in ‘Anna Karenina’

09.8.2011 | By |

Keira Knightley, Jude Law to star in 'Anna Karenina'

Joe Wright will direct the epic romance Anna Karenina, adapted from Leo Tolstoy’s classic novel by Academy Award winner Tom Stoppard (Shakespeare in Love). The Working Title Films production will commence filming in the U.K. and Russia this month. Focus Features will distribute the movie domestically, and Universal Pictures International (UPI) will distribute the movie internationally, in the second half of 2012.
 
Anna Karenina marks Mr. Wright’s third Working Title movie with Focus and UPI, following the award-winning boxoffice successes Pride & Prejudice and Atonement. Also for Working Title and UPI, he directed The Soloist; also for Focus, he most recently directed the hit adventure thriller Hanna.
 
Working Title co-chairs Tim Bevan and Eric Fellner are producing Anna Karenina with Paul Webster; the three were Academy Award nominees as the producers of Mr. Wright’s Best Picture-nominated Atonement. Also with Focus, Mr. Webster was a Golden Globe Award nominee as producer of Eastern Promises.
 
Keira Knightley, Academy Award-nominated for Pride & Prejudice, will star as Anna Karenina in her third collaboration with Mr. Wright. Ms. Knightley will be starring opposite two-time Academy Award nominee Jude Law, as Anna’s husband Aleksei Karenin; and Aaron Johnson (Nowhere Boy), as Count Vronsky. Rounding out the cast will be Kelly Macdonald (Boardwalk Empire), Matthew Macfadyen (Pride & Prejudice), Domhnall Gleeson (Harry Potter and the Deathly Hallows), Alicia Vikander (The Seventh Son), two-time Academy Award nominee Emily Watson, Olivia Williams (Hanna), and Ruth Wilson (Luther).
 
Also reteaming with Mr. Wright on Anna Karenina are Academy Award-winning composer Dario Marianelli, twice-Academy Award-nominated costume designer Jacqueline Durran, and three-time Academy Award-nominated production designer Sarah Greenwood. The cinematographer will be Academy Award winner Philippe Rousselot. Melanie Ann Oliver (Focus’ Jane Eyre) will edit the feature. Sidi Larbi Cherkaoui will be the choreographer on the movie.
 
The story unfolds in its original late-19th-century Russia high-society setting and powerfully explores the capacity for love that surges through the human heart, from the passion between adulterers to the bond between a mother and her children. As Anna (Ms. Knightley) questions her happiness, change comes to her family, friends, and community.
 
Focus Features CEO James Schamus said, “Joe Wright is a master filmmaker, and with Tom Stoppard’s brilliant screenplay this Anna Karenina will be full of both pageantry and emotion. To realize Joe’s vision, we have the perfect producing partners in Working Title and Paul Webster, whose acumen is unsurpassed. With Keira Knightley playing this iconic role and a splendid cast supporting her, today’s moviegoers will be drawn to this powerful story.”
 
Mr. Bevan commented, “Everyone at Working Title is proud to affirm a longtime collaboration with Joe Wright through this, our fourth picture together. That we are able to re-convene cast and crew from Pride & Prejudice and Atonement makes it all the more exciting. We anticipate that this will be a defining screen version of Anna Karenina.”

Jack Rico

By

2011/09/08 at 12:00am

Adam Rodriguez joins ‘The Dark Knight Rises’!

09.8.2011 | By |

Adam Rodriguez joins 'The Dark Knight Rises'!

CSI: Miami co-star Adam Rodriguez is the latest Latino to land a small role on Chris Nolan’s next Batman movie, The Dark Knight Rises. What he will play is unknown at this moment, but Rodriguez will for sure have some screen time in the film. Rodriguez will be joined by Nestor Carbonell, who is also Latino and who plays the Mayor of Gotham.

Rodriguez was recently in ‘I Can Do Bad All by Myself’ and ‘Let the Game Begin’. He’s mostly known for his work as a detective in CSI: Miami, but he’s trying to break through into movies and this is as good a break as ever to make some noise in Hollywood.

The Dark Knight Rises has no official plot yet, but according to the trailer we saw and the set photographs, it will center around Batman once again fighting for good and on a quest to stop Bain, and Catwoman from creating chaos in Gotham.

Jack Rico

By

2011/09/07 at 12:00am

Alicia Keys announces Broadway cast of ‘Stick Fly’

09.7.2011 | By |

Alicia Keys announces Broadway cast of 'Stick Fly'

Producer Alicia Keys is proud to announce that Dulé Hill, Mekhi Phifer, Tracie Thoms, Puerto Rican actor Ruben Santiago-Hudson and Condola Rashad will star in the Broadway premiere of STICK FLY, the critically-acclaimed American play by Lydia R. Diamond and directed by Kenny Leon. STICK FLY begins previews on Friday, November 18, 2011 and officially opens on Thursday, December 8, 2011 at the Cort Theatre (138 W. 48th Street). Tickets are now on sale through Telecharge.com.
 
“My producing partners and I are thrilled to have such a strong and talented ensemble cast assembled,” said Alicia Keys. “Having this incredible group of actors to help bring Lydia’s beautiful play to life is going to take Broadway’s wattage to the next level!”
 
Returning to the Broadway stage, Emmy Award nominee Dulé Hill (“Psych,” “The West Wing”) will play Kent “Spoon” Levay (a writer), Tracie Thoms (Rent, “Cold Case,” The Devil Wears Prada) will play Taylor (Kent’s fiancée and an entomologist), and Tony Award-winner Ruben Santiago-Hudson (Seven Guitars, Lackawanna Blues) will play Joe Levay (Kent & Flip’s father and a neurosurgeon). Making their Broadway debuts, Mekhi Phifer (“ER,” 8 Mile) will play Flip Levay (a plastic surgeon), and Drama Desk Award nominee Condola Rashad (Ruined) will play Cheryl (a maid). Casting for the role of Kimber, a part-time teacher, will be announced at a later date.
 
It was supposed to be a relaxing weekend at the family home on Martha’s Vineyard… until the baggage got unpacked. Set at the elegant summer home of the well-to-do LeVay family, STICK FLY begins when two adult sons bring their significant others (one a fiancée, the other a new girlfriend) home to meet their parents for the first time. Soon, secrets are revealed, civilities are dropped and identities are explored in a harsh new light. Race and rivalry, class and family, all come together for an explosive comedy of manners about today’s complex world.
 
The creative team for STICK FLY includes David Gallo (Scenic Design), Reggie Ray (Costume Design), Beverly Emmons (Lighting Design) and Richard Fitzgerald / Sound Associates (Sound Design).
 
STICK FLY will be produced on Broadway by Nelle Nugent, Alicia Keys, Samuel Nappi, Reuben Cannon, Sharon A. Carr/Patricia Klausner, Huntington Theatre Company, Dan Frishwasser, Charles Salameno in association with Joseph Sirola & Eric Falkenstein.
 
STICK FLY was developed in a recent co-production last year between the Huntington Theatre Company in Boston and Arena Stage in Washington D.C. The play had its world premiere at Chicago’s Congo Square Theatre Company in 2006 and was subsequently performed at theatres including the McCarter Theatre in 2007 and the Matrix Theatre Company in Los Angeles in 2009. STICK FLY is the recipient of 2011 Independent Reviewers of New England Awards for Best Play and Best Director of a Drama (Kenny Leon); 2010 LA Drama Critics Circle Awards for Best Production, Best Direction and Best Ensemble Performance; a 2010 LA Garland Award for Playwriting; a 2009 LA Weekly Theatre Award for Playwriting; and, the 2006 Black Theatre Alliance Award for Best New Play. It was also a 2008 Susan Blackburn Prize finalist and a nominee for the 2006 Joseph Jefferson Award for Best New Work.
 
Tickets are now available by calling Telecharge.com at (212) 239-6200, (800) 432-7250 outside the NY metro area, or online at Telecharge.com.

Select a Page