Once Upon A Time, THIS Was Entertainment!

By 1967, the hit Broadway show Hello Dolly had already been running for three years. 

That was considered a helluva run in those days and the show was  beginning to feel a bit tired. Carol Channing, the original Dolly, had already been gone from the show for more than a year and was replaced by a series of well known performers. 

But something was missing -- something that would give the show a unique boost. 

That's when producer David Merrick decided to start all over again, recasting the entire show, beginning with the legendary Pearl Bailey as Dolly and backing her up with an all Black cast. 

The result was a whole new show -- reimagined and absolutely spellbinding! And propelling it onward was one of the most imaginative, poignant and heartfelt Dollys ever as Pearl Bailey dominated the stage.

This is the magic of Broadway!

Yes, These Famous Stars Are ALL Still Alive!

 

Truly, A Magical Moment Unlike Any Other!

There's nothing quite like the moment just before the curtain goes up on a Broadway show -- a real Broadway show, on Broadway.

I usually arrive early and . . . click here to read the rest on Dan's Broadway website.

POLIATRICS? Here's What It's All About . . .

Call it poliatrics.

It's at the intersection of politics and theatrics. And if you think it doesn't exist, you haven't been paying attention. In fact, highly theatrical moments have helped to define the major political figures of this country and theatrics have played a huge role in American politics and the presidency for more than a century.

Let's review some of the major rules of the show business and see how they apply:

1) Hype The Big Event. No performance can succeed without a hype -- even presidential inaugurals and political conventions. And part of the hype is keeping the audience guessing. After all, a certain shroud of mystery does wonders for heightening expectation. In 1964, President Lyndon Johnson needed to build anticipation for what would otherwise be a pro forma Democrat National Convention in Atlantic City. So, he staged an elaborate guessing game surrounding his vice presidential pick and kept everyone waiting until the last possible moment (even setting up decoys) before bringing on Hubert Humphrey. 

2) Make a Grand Entrance. Really Big Stars don't just walk onto a stage or a movie set, they make an Entrance. One of the first things Ronald Reagan learned when he was under contract to Warner Brothers was how to throw back his shoulders, lift his head high, rise up and stride forward purposefully. Of course it helped that he was also one of the first actors to wear contact lenses and his outfits were perfectly tailored from that day forward. Small wonder that defining what it meant to look and act presidential later came natural to this guy!

3) Give 'Em What They Came For. Can Springsteen appear without singing Glory Days? Fat chance! Ya gotta give the audience what they want. So Obama never gave a stump speech without Hope and Change. And when Trump's rally rhetoric reaches its climactic moment, you can guarantee it will build to that familiar litany ending with Make America Great Again. Feed 'em the vittles they crave!

4) Be Bigger Than Life. The big screen was invented for  bigger than life stars and stories. 125 years ago, Teddy Roosevelt ushered in an epic American era in part by establishing such a formidable stage presence that it was impossible to ignore him. He was vivid, daring, surprising, brash and (at the dawn of the motion picture era) visually intuitive. Hugely consequential, he helped to define not only the modern presidency but the 20th century itself. By sheer force of will he seemed to thrust America onto the world stage once and for all. And America and the presidency haven't been the same since.

5) Perfect The Comeback. In show business a setback is nothing more than a setup for a comeback. And nobody understood this better than Richard Nixon who, after losing the presidency in one of the closest races ever in 1960, came back to win the office in 1968. Ditto Donald Trump, who did it back-to-back in 2020 and 2024, becoming only the second president ever to serve two non-consecutive terms. And, how about the redoubtable Comeback Kid himself, Bill Clinton who bounced back after losing the governorship of Arkansas and rose from the ashes again during the 1992 Democrat presidential primaries. Yowza!

6) Always Leave 'Em Begging For More. AKA get the hell to get off the stage before they give you the hook. AKA don't overstay your welcome. Here's the deal: Ya gotta leave while the audience still loves you, while they're still crazy about you, before you're past your due date. Vain as they are, few (if any!) politicians have learned when and how to make a graceful exit. And here, they're mostly all notable for failing. Pelosi and Schumer immediately come to mind. But the penultimate (and most embarrassing) example remains Joe Biden. Two words: rotten tomatoes!

So now you know why they call politics "show business for ugly people." That's all folks!

Philly Pops Showcases Superb Summer Lineup!

The Philly Pops is thrilled to highlight its many exciting concerts planned for this summer.

Featuring headliners such as Idina Menzel, Boyz II Men, and Leslie Odom Jr., the season includes major outdoor concerts with acclaimed guest artists, neighborhood performances, and appearances that reinforce the Philly Pops’ presence throughout the greater Philadelphia region. Under the leadership of Music Director Chris Dragon, the orchestra remains committed to presenting symphonic performances built around the music audiences already know and love, while expanding access to live orchestral music across the city. 

“This summer, we are thrilled to present concerts that reflect both who we are as an orchestra and where we are headed,” said Executive Director Matt Koveal. “We are proud to perform throughout Philadelphia: from our Pops on Independence concert on Independence Mall, celebrating America’s 250th anniversary with special guest artist Idina Menzel, to performances at the Highmark Mann, as well as concerts in parks, neighborhoods, and major venues across the region. With so many opportunities to experience the Philly Pops, we are bringing the orchestra directly into the everyday life of Philadelphia.”

Here is a list of upcoming concerts. Please visit www.phillypops.org

for ticket information,

Pops on Independence featuring Idina Menzel

Friday, July 3, 7 pm

Independence Mall, Philadelphia

Idina Menzel, vocalist

Christopher Dragon, conductor 

The Philly Pops returns as part of Wawa Welcome America’s annual festival with Pops on Independence concert, featuring Tony Award-winning, multi-platinum singer, songwriter, actor, and Broadway star Idina Menzel. Presented as a free Independence Concert Series performance in the heart of historic Philadelphia, the evening celebrates America's 250th anniversary with live orchestral music, favorite songs, and patriotic spirit.

Gregory Alan Isakov with the Philly Pops

Friday, August 21, 8pm

Highmark Mann Center for the Performing Arts, 5201 Parkside Avenue, Philadelphia

Gregory Alan Isakov, featured artist

Christopher Dragon, conductor

The orchestra joins Gregory Alan Isakov for an evening blending indie folk and symphonic sound. Isakov is a South African-born, Colorado-based singer-songwriter whose poetic style makes him a distinctive presence in indie folk and Americana. His six studio albums, including This Empty Northern Hemisphere, The Weatherman, Evening Machines, and Appaloosa Bones, have built him a devoted following, founded on intimate songwriting, international touring, and collaborations with symphony orchestras across the United States.

Jerry Garcia Symphonic Celebration

Friday, August 28 - 8 p.m.

Highmark Mann Center for the Performing Arts, 5201 Parkside Avenue, Philadelphia

Melvin Seals, Jacklyn LaBranch, Tom Hamilton, Grahame Lesh, John Morgan Kimock, Kanika Moore, featured artists

Christopher Dragon, conductor

The Jerry Garcia Symphonic Celebration returns to celebrate 60 years of the Grateful Dead and Garcia’s enduring legacy. This groundbreaking orchestral adventure – curated by the Garcia family – will feature Garcia's storied original compositions as well as classic interpretations of timeless standards that were hallmarks of Garcia and the Grateful Dead's storied concerts. The program features an all-star lineup, including Jerry Garcia Band members Melvin Seals on organ and vocalist Jacklyn LaBranch; guitarist/songwriter Tom Hamilton (Joe Russo’s Almost Dead); bassist Grahame Lesh (Phil Lesh & Friends); drummer John Morgan Kimock (Mike Gordon); and vocalist Kanika Moore (Doom Flamingo).

Boyz II Men with the Philly Pops

Friday, September 18, 8pm

Highmark Mann Center for the Performing Arts, 5201 Parkside Avenue, Philadelphia

Boyz II Men, featured artist

Anthony Parnther, guest conductor

Boyz II Men has made Philadelphians proud holding the distinction of being the best-selling R&B group of all time, with an astounding 64 million albums sold. They redefined popular R&B and continue to tour with their timeless hits that appeal to fans across all generations. Music lovers can expect favorites such as “End of the Road,” “I’ll Make Love to You,” “One Sweet Day” and “Motownphilly.” The group’s four Grammy Awards are just the tip of the iceberg; throughout its 30 plus-year career, Boyz II Men has also won a whopping nine American Music Awards, nine Soul Train Awards, three Billboard Music Awards and a MOBO Award for Outstanding Contribution to Music.

Pops at the Pavilion - The Philly Pops featuring Leslie Odom, Jr.

Friday, September 25, 7 p.m.

Philly Pops featuring Leslie Odom, Jr.

Finneran Pavilion, Villanova University, Villanova, PA

Leslie Odom, Jr., featured artist

Chris Dragon, music director

The Pops returns to Villanova University featuring Philadelphia-native Leslie Odom, Jr., a Tony and Grammy Award-winning actor, singer, and songwriter whose career spans Broadway, film, television, and concert performance. The show takes place during Villanova University’s Family Weekend, under the baton of Philly Pops Music Director Chris Dragon. Odom is known for his acclaimed portrayal of Aaron Burr in Hamilton and expanded his career with screen roles including Sam Cooke in One Night in Miami.

Community and Access Performances

Beyond its major hall performances, the Philly Pops will continue its commitment to community access with Artcinia concerts in Philadelphia neighborhoods and additional appearances at locations throughout the region. These performances are designed to reduce barriers to entry and bring live orchestral music directly into the everyday life of the city.

Subscription information for the new Kimmel Center series and additional ticket details will be announced at www.phillypops.org. 

About the Philly Pops

Founded in 2023, Liberty Bell Pops, d/b/a the Philly Pops, is a versatile ensemble composed of the former musicians of the pre-2023 Philly Pops with a mission to deliver authentic, exceptional musical experiences in the Philadelphia region. Gifted the name Philly Pops by the estate and family of Music Director Emeritus Peter Nero, the reborn Philly Pops is led by Music Director Christopher Dragon and features world-class soloists. The Pops continues to captivate audiences with its vibrant and diverse repertoire, melding tradition with an innovative approach unbound by musical genre.

 

Liberty Bell Pops, d/b/a the Philly Pops, has no affiliation either legally or artistically with Encore Series, Inc., the former management company of the Philly Pops.

Mammoth Hit From The UK Is Headed Our Way

A Not-To-Be-Missed Broadway Event!

The List Of 2026 Tony Award Winners

Here are the winners from last evening's Tony Awards:

Best Musical: Schmigadoon! Best Play: Liberation Best Revival of a Musical: Ragtime Best Revival of a Play: Arthur Miller’s Death of a Salesman Best Performance by an Actor in a Leading Role in a Musical: Joshua Henry, Ragtime Best Performance by an Actress in a Leading Role in a Musical: Caissie Levy, Ragtime Best Performance by an Actor in a Leading Role in a Play: John Lithgow, Giant Best Performance by an Actress in a Leading Role in a Play: Lesley Manville, Oedipus Best Performance by an Actor in a Featured Role in a Musical: Ali Louis Bourzgui, The Lost Boys Best Performance by an Actress in a Featured Role in a Musical: Shoshana Bean, The Lost Boys Best Performance by an Actor in a Featured Role in a Play: Alden Ehrenreich, Becky Shaw Best Performance by an Actress in a Featured Role in a Play: Laurie Metcalf, Arthur Miller’s Death of a Salesman Best Direction of a Musical: Zhailon Levingston and Bill Rauch, Cats: The Jellicle Ball Best Direction of a Play: Joe Mantello, Arthur Miller's Death of a Salesman Technical categories continued here.

Tony Telecast: Salacious; Tony Awards: Sublime!

Last night's Tony Awards telecast will stand as probably the trashiest Tony show in the history -- and that's a very long time.

The raunchiest parts revolved around the segments dedicated to The Rocky Horror Picture show and The Jellicle Ball. When you throw in the barely-clothed performer known as "Pink" as the host, well -- salacious can only begin  describe it all. In fact, even some of the commercials were questionable and loaded with double entendres. 

But, having said that, the awards themselves were conveyed upon the most traditional, wide audience nominees. The grand and glorious American saga musical Ragtime defeated the smutty Jellicle Ball and The Rocky Horror Picture Show for best revival of a musical -- an upset that most experts weren't expecting. The classic Death of a Salesman won best revival of a play. Let's face it: you can't find a more certified,  blue-chip American drama than Salesman. Best musical honors were bestowed upon Schmigadoon,  a unabashed, tongue-in-cheek homage to the big old-fashioned American musical. And while the best drama winner Liberation delves into the socio-political aspects of the women's movement, it uses the traditional format of a memory play and even incorporates an Our Town style narrator. 

So, as much as Broadway attempted to shock last night, the evening's real winners played to Broadway's well-known strengths: serious, thought-provoking drama; sweeping, epic themes and sheer entertainment with talented casts, amazing vocalists and dazzling choreography. 

Ragtime provides us with the best example of Broadway's return to what Broadway does best. The show succeeds because it's blessed with a very strong storyline -- one that everyone in the audience can grasp, incorporating characters that people can identify with. What's more, the music and lyrics are soaring and melodic. It's clearly the most robust, full-throated show on Broadway right now. And, to top it all off, Ragtime is a genuine heart-tugger. It's right up there with Carousel and Show Boat for its emotional impact.

We saw the original production of Ragtime in 1996. It's sheer grandeur blew us away then and, if anything, age has only made the show more meaningful and seemingly more magnificent. 

Yes, the Tony Awards telecast left a lot to be desired. But the awards themselves gave us new hope for a Broadway that is journeying back to its roots and doing so with pride and penache!

Avanti!

My Tony Predictions For Tonight!

Here's who will win Broadway's Tony Awards tonight:

Best musical: SCHMIGADOON

Best musical revival: THE JELLICLE BALL

Best actress, musical:  Caissie Levy, Ragtime

Best actor, musical: Joshua Henry, Ragtime 

Best featured actress, musical: Shoshana Bean, The Lost Boys

Best director, musical: Zhailon Levingston and Bill Rauch, The Jellicle Ball 

Best play: LIBERATION

Best play revival: DEATH OF A SALESMAN

Best actress, play: Lesley Manville, Oedipus 

Best actor, play: John Lithgow, Giant

Best featured actress, play: Laurie Metcalf, Death of a Salesman

Best featured actor, play:  Christopher Abbott, Death of a Salesman

Best director, play: Joe Mantello, Death of a Salesman

Looks Like A 'Not-To-Be-Missed' Event!

Sondheim's Life: Struggles, Demons, Triumphs

The brilliant Broadway composer and lyricist, Stephen Sondheim, was every bit as difficult, complicated, and sometimes frustrating as the puzzles that he collected and so enjoyed over his lifetime.  

Sondheim's many quirks, squabbles, grudges, demons, peaks and valleys  are richly detailed in the new biography, Stephen Sondheim, Art Isn't Easy, by Daniel Okrent, for the Jewish Lives series from Yale University Press.

Here are some of the things we learn in this biography which illuminates the life, struggles and triumphs of Sondheim in a way heretofore unavailable:

•  The author tells us that for all intents and purposes, Sondheim was an alcoholic. He drank almost every day of his life. Yes, there were periods when he went  off the bottle, but invariably he returned to his previous ways.  He enjoyed almost every kind of alcoholic beverage, including scotch, vodka, bourbon, martinis, champagne, wine  or whatever would do the trick and he resisted any efforts to get him into a program such as Alcoholics Anonymous.
•  Like many great artists, Sondheim was also a perfectionist who obsessed over his work and, even after he completed a composition, was often less than satisfied with it. He was known to return to previously "finished" works to correct what he still perceived as mistakes or oversights. And no, whatever natural talent he had didn't make the pursuit of his art any easier. Thus, the subtitle Art Isn't Easy.
• Sondheim was also a notorious procrastinator, either because he found it difficult to face a looming task or because he worked best under pressure. This often presented a difficult dilemma for his collaborators and the many others who depended on his output in the high-pressured theatrical world of Broadway.  Still, when the pressure was on, more often than not, he delivered mightily. But oh, the waiting!
• They called Sondheim a genius, and he certainly was significantly above average in intelligence. In school, he skipped both kindergarten and seventh grade and entered college at 16. In first grade he read aloud from the New York Times. But, like many high IQ people, he could be awkward in social situations and found such settings difficult. He was an enigma, difficult to get to know and not what you would call a "people person." 
• Yes, some might characterize him as a "tortured genius" as he also sometimes obsessed over small slights or things that were said or written about him and he was known to hold grudges, sometimes letting things fester for years or even decades. But, he could just as easily blow up, let off steam and then put his anger aside and act as if all was well again.  Friends learned to deal with his sometimes volatile behavior and treasured their relationships with him nonetheless.
• Drugs were another part of Sondheim's life, though apparently not to the point where he became an addict. The musical Sunday in the Park With George was written largely with the help of marijuana at a time when weed was not legal and Into The Woods was reportedly helped along with cocaine and even ecstasy. 
• Sondheim suffered two heart attacks, one just beyond the middle of his life and one a bit later and he did clean up his act a bit after each one, incorporating an exercise regimen and sticking with wine instead a variety of liquors. But, in both instances, he returned to his old ways and, incredibly, managed to live to the age of 91 -- still very alert, cogent, and still working on a new musical (Here We Are) at the time of his death. 
• Though he avoided sentimentality in all his shows, Sondheim himself proved to be a sentimentalist at times. He was deeply  moved by the mere mention of the word "teacher" because he felt that teachers had the greatest impact on his life and on the life of others. And though, he was an insular person, Sondheim was known to cry easily. In fact, he cried, whenever he played the song Someone In a Tree which was deeply personal to him.

In this book, the author gives us a Sondheim, who is characterized by three overwhelming traits -- alienation, ambivalence and revenge. 

The product of a fractured marriage (and a resulting deep personal animus toward his mother) Sondheim, according to Okrent, was motivated by a feeling of vengeance, and this unfortunately carried over into many of his dealings with others. Throughout his life, he also felt a deep sense of separateness and an inability to connect with others. On top of all that was a persistent ambivalence, which carried over into the lyrics of many of his songs. This ambivalence added to the mystique of Sondheim and was depicted in the tales disconnected prople, particularly in an urban setting. And this, of course, is most dramatically expressed in the musical Company.

Alienation. Ambivalence Revenge. These three run through some of Sondheim's greatest works. 

Alienation crops up in characters who often appear to be mere observers of the world around them rather than active participants and it is a frequent trait of artists who spend the bulk of their time observing and creating, often necessarily shutting themselves off from others. Think Sunday In The Park With George and Merrily We Roll Along. Ambivalence finds a home in a secular world devoid of moral underpinnings, guidelines or even any semblance of a road map. Think Company and Follies. Revenge often grows from past traumatic events, sometimes even criminal. Think Sweeney Todd.

As gruesome as Sweeney Todd was, the strong propulsion of revenge that characterized his macabre tale was something that Sondheim could understand. Asked once about the difference between himself and Sweeney, Sondheim didn't flinch. "I tuned it into art," he answered.

Though Sondheim may have passed on nearly five years ago, we remain abundantly grateful for the art he created which lives on among all of us. Or, as George Bernard Shaw once said: "You can lose a man like that by your own death, but not by his". 

One Of Broadway's Most Elegant Secrets!

The Shubert Duplex Apartment is a historic residential space located above the Shubert Theatre at 225 W 44th St, built in 1913 for Lee Shubert to "live above the shop". It served as a private, elegant residence atop the theater, which is now a New York City landmark. Accordingly, the apartment (which is part of the Shubert headquarters) is largely intact and much of it is preserved. The photos below were recently posted on facebook by a theater insider who had rare access to the legendary space.

Are These The Cleverist Broadway Lyrics Ever?

If driving fast cars you like

If low bars you like

If old hymns you like

If bare limbs you like

If Mae West you like

Or me undressed you like

Why, nobody will oppose

When ev'ry night the set that's smart is

Intruding at nudist parties

In studios

Anything goes 

-Cole Porter for Anything Goes, 1934

Yes, these lyrics were written 92 years ago!

Mikie -- And The 'Follow The Furrow' Challenge

As Mikie Sherrill begins her term as Governor of New Jersey, keep an eye out for that furrowed brow. You're likely to see it more than you might imagine.

And keep in mind that few facial expressions pack as much intrigue as this subtle crease between the eyebrows that says more than words ever could. It’s often seen as a signal of intensity, but don't be fooled for its meaning stays elusive: a passing thought, quiet anger, hidden doubt, or calculated performance? From ancient art to modern memes, this tiny muscle twitch has fascinated us for centuries.

Historical Underpinnings Philosophers like Socrates and Moses in Michelangelo’s sculpture seem to wear furrowed brows as badges of moral weight and intellectual struggle. Is it the face of wrestling with big questions—or does it signal big troubles ahead?

Literary Power Shakespeare gives Hamlet a furrowed brow for existential torment. To be or not to be? In Frankenstein, Victor’s deepening creases mirror his descent into obsession. The brow becomes shorthand for inner conflict no dialogue can fully capture.

Theater and Film Laurence Olivier’s scheming Richard III, Bogart’s weary Rick in Casablanca, Daniel Day-Lewis’s ruthless Daniel Plainview in There Will Be Blood—all use the furrowed brow to telegraph menace, regret, or ruthless focus. It’s silent suspense in close-up.

Pop Culture Batman broods with a perpetual furrow. The “thinking” emoji 🤔 and viral celeb clips turn it into instant shorthand for sarcasm, skepticism, or feigned “deep thoughts.” And comedians like the Three Stooges, Jerry Lewis and Mel Brooks have used it to mock intellectuals.

What It Really Signals (Especially in Power)

• Politicians: LBJ's furrowed brow and narrowed eyes made people wonder what he might be scheming; Obama’s used furrowed crisis speeches in the hopes of projecting calm gravitas; Nixon’s sweaty, furrowed 1960 debate look arguably cost him the election—nerves on display.
• Business Leaders: Do Elon Musk’s furrowed interviews suggest intense innovation… or high-stakes strain? A CEO’s brow in the boardroom could mean foresight—or simply bluffing to hide uncertainty.  

The furrowed brow can be genuine stress or  performance art: empathy theater, authority flex, or mask for vulnerability.

It endures because it’s ambiguous by design. It invites us to project our own assumptions onto someone else’s face. In leaders, artists, and everyday people alike, this single crease remains one of humanity’s most mysterious—and most revealing—tells.

Is Sherrill troubled by something? Does she harbor secret doubts? Is she stalked by some Big Question? Or is this learned performance art designed to signal intensity while masking vacuity? Stay tuned!

Video: Christmas At The Trump-Kennedy Center

Wednesday was a magical night at the Trump Kennedy Center!

🎄We started with our inaugural Christmas Tree Lighting in the Hall of States, complete with a joyful visit from Santa Claus. 🎅 The ceremony was led by our President, Ambassador Richard Grenell, and Secretary of… pic.twitter.com/vBBhBssmSf

— The Trump Kennedy Center (@kencen) December 19, 2025

Blue Moon: 'A Broken Hart For Every Light . . . '

As those of you who follow this blog know, we are are huge Broadway fans So, we were were really looking forward to Richard Linklater's new movie Blue Moon about the last days of Rodgers and Hart and the first night of Rodgers and Hammerstein. We hoped to see it on the big screen but it didn't hang around long enough at a local theater for us to catch it. So, we paid $19.95 to watch it on Apple TV and we can say that it was absolutely worth it, and we're here to tell you why

Director Linklater’s Blue Moon is a moody, beautifully contained portrait of lyricist Lorenz Hart on the night Oklahoma! premieres — the moment Broadway shifts away from the world he once ruled. Ethan Hawke delivers a stunning, career-peak performance, capturing Hart’s quick wit, aching vulnerability, and corrosive self-doubt with a rawness that never feels theatrical, even when the film intentionally leans into stage-like visual devices.

It's a very tightly contained movie that details one night in the life of the principals and it all takes place within the confines of the legendary theatrical haunt, Sardi's in Manhattan. Because of this the movie can seem a bit claustrophobic at times and, we must warn you, it is very wordy. But the entire cast is so good and the performances are so polished that these limitations are easily overcome. 

And Blue Moon is a movie that naturally leans into conversation and memory, all propelled by Hawke’s merciless charisma. It’s the sort of intimate filmmaking that we don't find anymore and it's bound to please fans of actor-driven period pieces and anyone interested in the behind-the-scenes aches of creative life. Hawke, who's in every frame of this movie, is a near certain Oscar nominee and several members of the supporting cast could be in the running as well.

Margaret Qualley brings warmth and subtle tension as the young woman who becomes Hart’s accidental confessor, while Andrew Scott offers a cool, understated turn as Richard Rodgers, hinting at the creative and emotional struggles beneath their legendary partnership. As Hart's bartender and patient listener, Bobby Cannavale is a street smart counselor, best friend and willing one-man audience all rolled into one. 

There's an extended scene with Rodgers and Hart alone amidst a crowd of admirers where you get the sense that their's was a bromance that survived overwhelming early fame only to wither amidst the same ying and yang that brought them together in the first place. Rodgers was the deliberate, focused craftsman while Hart was the jittery, obsessive and ultimately self-destructive auteur who was nonetheless a lyrical genius. One can only imagine what might have been if they had more years together.

Linklater uses this intimate chamber piece to evoke the glittering Broadway of the 1920s–40s — a world shaped by Rodgers & Hart’s sophisticated, slangy, emotionally complex songs — and to show how that era gave way to the integrated, story-driven musicals of Rodgers & Hammerstein. In the process, Blue Moon becomes both an elegy for a vanished musical style and a bruising character study of a man who helped define it. 

For all its wit and polish, this is not a cheerful story. Hart was a tortured soul -- acerbic, alcoholic, sexually confused and lonely. But show business is a tough racket, darlings. And you know the old saw: there's a broken heart (or, in this case Hart) for every light on Broadway.

Quiet, smart, and unexpectedly haunting, Blue Moon lingers long after the final fade-out.

Ciattarelli And Fetterman? You Might Be Surprised!

Oh, we know that on the surface it seems there would be few similarities between Pennsylvania Senator John Fetterman and New Jersey gubernatorial hopeful Jack Ciattarelli. 

Fetterman is a big, garrulous guy and Ciattarelli is fit and trim. Fetterman favors shorts, hoodies and work clothes while Ciattarelli seems most comfortable sporting upscale business casual styles. And Fetterman can seem dour and brusque while Ciattarelli's usually smiling, welcoming and engaging. 

But take a closer look and you'll find these similarities:

1) Both men are dogged campaigners who have survived setbacks and come back to appear at the top of the ticket for each of their respective parties. Fetterman ran for the US Senate in 2016 and finished third in the Democrat primary. Ciattarelli lost his first gubernatorial primary bid in 2017.

2) Both got their start in local politics and have been underestimated (often by members of their own parties) only to defy the naysayers and move up the political ladder. Fetterman began as a small town mayor in Braddock, PA. Ciattarelli served on the Raritan (NJ) borough council, eventually becoming council president. They understand that all politics is local.

3) Each is a native of his own state and both have worn their home state roots as a badge of honor -- especially as each of them have taken on opponents from out of state. Ciattarelli faces someone who grew up in the Washington DC area while Fetterman faced an opponent who grew up in Delaware. 

4) Both men run relentless, unconventional campaigns built more on grit and instinct than the guidance of consultants. In fact, Ciattarelli's current "all gas, no brakes" campaign is reminiscent of Fetterman's "every county, every vote" approach. Both have proved to be masters of face-to-face retail politics. 

5) Both eschew ideology and rigidity (Fetterman more so than in the past) while appealing broadly across party lines. These guys defy labels by pitching to voters' thirst for common sense solutions. And it's easy to imagine Ciattarelli occasionally reaching across party lines as governor just as Fetterman seems to be doing as US senator.

In sum, though they're certainly not chummy and maybe have never even met, you could see Fetterman and Ciattarelli in a sort of political remake of The Odd Couple: Fetterman as the Walter Mattau, cigar chomping, card playing schlump and sleek Jack Ciattarelli as the Jack Lemon finicky, fastidious Mr. Neat. 

Ain't all politics theater anyway?

Remembering The Inimitable Diane Keaton

How sad that we must now mark the passing of Diane Keaton (born Diane Hall, January 5, 1946), whose death at the age of 79 has just been announced. 

Diane Keaton’s life was a constellation of bold choices, heartfelt performances, and singular artistry. From her earliest days in Los Angeles, she carried within her a restless spirit and a deep empathy — qualities that would come to define her career and the people she touched. 

Though she was best known as a movie star and irrepressible style icon, Keaton’s journey actually began in the theater. She appeared in the original 1968 Broadway production of Hair, and soon afterward earned acclaim for her work on stage — including a Tony nomination in Play It Again, Sam. Her elegant blend of intelligence, vulnerability, and wit made her a magnetic presence not only on the stage but on and off the screen.

Her cinematic debut came in Lovers and Other Strangers (1970), but it was her role as Kay Adams–Corleone in The Godfather (1972) that placed her squarely on Hollywood’s map. Who can forget Diane in that magisterial saga? She reprised that role in The Godfather Part II and later Part III, anchoring one of cinema’s most revered contributions with poise and strength. 

Defining a Voice — Annie Hall and Beyond

Still, perhaps no collaboration shaped Keaton's public persona more than her work with Woody Allen. In Annie Hall (1977), she brought to life a character whose style and sensibility (from glasses to menswear) felt both intimate and revolutionary. The film was a true landmark and Diane's performance earned her the Academy Award for Best Actress, and cemented her legacy as a leading light in modern cinema. 

On the same year, she struck a darker note with her performance in Looking for Mr. Goodbar, an audacious turn that showed she would never be limited to one mode or genre. Critics widely praised her in that film for its emotional scale and daring. 

Over the decades, Keaton was equally at home in comedic, romantic, and dramatic fare — in films like The First Wives Club, Father of the Bride, the rollicking Something’s Gotta Give, Marvin’s Room, Manhattan Murder Mystery (a personal favorite of ours) And So It Goes, and more.

Behind the Camera & Wider Passions

Keaton was more than a performer. She directed and helmed projects of her own, including the documentary Heaven (1987) and Hanging Up (2000), exploring both spiritual themes and the complexities of family life.  She was also an avid photographer, collector of images, and a voice of introspection and wonder in her essays and memoirs.

She adopted two children — Dexter (in 1996) and Duke (in 2001) — embracing motherhood later in life with humility and fierce devotion. 

Keaton never married. She often spoke of welcoming solitude not as a lack, but as a space for freedom, creativity, and self-discovery. 

Honors & Legacy

Over more than five decades in the public eye, Diane Keaton’s artistry was recognized with an Academy Award, a BAFTA, two Golden Globes, and nominations for Emmy and Tony awards.  She was honored with a Film Society of Lincoln Center Gala Tribute (2007) and the AFI Life Achievement Award (2017). 

Her influence reaches far beyond awards. She inspired generations with her courage to be singular, her daring sense of style, her refusal to settle for easy stereotypes, her willingness to be tender, funny, broken, fierce — all in the same breath.

A Final Word

Diane Keaton’s passing leaves a profound void in film, in culture, and in the hearts of countless admirers. But her light remains — in the images she captured, the performances she gave, the risks she undertook, and the people she touched. 

She once said:“Without acting I would have been a misfit.”
That line, spoken in recent years, feels as much a testament as a prophecy — for to many of us, she was never a misfit. She was a beacon.