“I’m in the south of France, so I can’t be there this evening,” began a note from Woody Allen that was read aloud before Monday night’s Peggy Siegal Company screening of his latest film, Blue Jasmine, at MoMA. “I only wish I was in New York and couldn’t be there.”
This fits the notoriously press-shy director’s M.O. During last summer’s premiere of To Rome, With Love, Mr. Allen braved the crowds for the red carpet before beating a hasty exit through some shrubbery to avoid the paparazzi, a feat that many of Jasmine’s stars can probably relate to.
“Jesus Christ,” muttered Louis C.K. as a rogue photographer broke ranks and began flashing blindingly bright lights into the corner where he and his former Parks and Recreation co-star Amy Poehler had sequestered themselves before the film. “Can you believe her?”
Ms. Poehler, in a somewhat more jovial mood, continued regaling the comedian with the story of her recent chat with President Barack Obama.
“He said, ‘Sasha and Malia just love you,’” Ms. Poehler informed Mr. C.K.
“Wait, who and who?” the Louie star deadpanned. “Okay, so what did you say?”
I’ve said it before and I’ll say it again: even on an off day, Woody Allen is better than everyone else on Sunday. But Blue Jasmine is not Woody between triumphs. This is the first-class work of a great talent at the top of his game, cooking on four burners with resolve and focus. This is Woody’s take on A Streetcar Named Desire, with Cate Blanchett combining aspects of her staggering stage performance in the recent Australian tour stopover of the Tennessee Williams classic at the Brooklyn Academy of Music with enough contemporary Diane Keaton neuroses to shed new light on the Freudian forces that drive modern Woody Allen heroines to glamorous self-destruction. Think Blanche DuBois meets Annie Hall. Then go immediately and grab the first available seat to the must-see movie of the summer.
Monday evening, Woody Allen announced the cast of his yet-to-be-titled film, set in San Francisco and New York. (This is different from his upcoming summer feature with Jesse Eisenberg, To Rome With Love, which is set in Rome.)
The cast is…eclectic, to say the least. To say the most would be calling it the work of either an insane genius or just a regular insane person. Let’s take a look, shall we?
Last night, at what is widely hyped as the best night in New York fashion, the attendees of the annual gala benefit at the Metropolitan Museum of Art’s Costume Institute did not disappoint. Patterns, we saw a few: a lot of black, a lot of neon, a lot of feathers, and a lot of sheer. And Read More
Fashion Week Observed
The last time we were in the Park Avenue Armory was for the Winter Antiques show, where every inch of the massive space was covered in paintings, curios, Edwardian furniture and antique lovers, most of whom were no longer sample sizes. Last night, however, the space was entirely empty, save for two giant screens, each fifty feet tall, and not a single guest exceeded a size six.
On the final night of Fashion Week, New York’s sartorial royalty skipped the final few Fall 2011 shows in order to get a peek at Set in Style, the new Van Cleef & Arpels exhibition at the Cooper-Hewitt.
Bergdorf Goodman’s Linda Fargo, in frothy Vera Wang, lamented having to miss the two shows for the Read More
This takes care of one obstacle: Stephen C. Byrd, the Broadway producer with the rights to stage Streetcar, has told The Times that he wants to help transfer the Cate Blanchett BAM production to Broadway.
He hasn’t seen it yet, but he hears good things:
“From what I’ve heard, it’s fabulous, and Read More
The New York Times today dissects the possiblity of an extremely successful Australian production of A Streetcar Named Desire, currently playing at BAM, moving to Broadway.
That possibility appears small. In an “active but brutal” season where celebrity appearances have proved key to success, the buzzy Blanchett Streetcar would Read More
David Mamet’s new play is here! The play that was to be Mamet, back in classic Mamet form! With a plot so incendiary that nothing about it could be revealed before performances started! With its poster and Playbill cover featuring only a simple, sexy shot of a shapely black woman’s legs in a slinky, red-sequined Read More