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Los Angeles Times
06-06-2025
- Entertainment
- Los Angeles Times
CNN will broadcast a Broadway performance of George Clooney in ‘Good Night, and Good Luck.' Don't miss it
When 'Good Night, and Good Luck' arrived on Broadway this spring, it initially provoked a surprising amount of cynicism. There were complaints that the adaptation by George Clooney and Grant Heslov was basically a reproduction of the 2005 film, which chronicled CBS newsman Edward R. Murrow's heroic crusade against Sen. Joseph McCarthy's communist witch hunts. The sky-high cost of tickets was another source of criticism. Was Broadway pricing itself beyond the reach of its core audience? Reports of 'Good Night, and Good Luck' shattering box office records served to remind those who couldn't afford a ticket that they were being left behind by a theater culture that was siding with the haves over the have-nots. In a Broadway season that featured Denzel Washington and Jake Gyllenhaal in a rudderless 'Othello' and Kieran Culkin in a 'Glengarry Glen Ross' revival that might have been stronger without him, 'Good Night, and Good Luck' was a convenient target for anti-Hollywood sentiment. When I arrived at the Winter Garden for a Saturday matinee in April, I can't say my expectations were especially high. I admired the film but hadn't seen it in nearly 20 years. The broodingly elegant production, sharply directed by David Cromer and starring a quietly committed Clooney in the role of Murrow (played in the film by David Strathairn), was not only one of the most stirring offerings of the Broadway season but also one of the most necessary. I left the theater wishing I could buy tickets for my friends and family. That won't be necessary — thankfully for my credit cards — because CNN will be broadcasting a live performance of 'Good Night, and Good Luck' from the Winter Garden on Saturday. It's apparently the first time a Broadway play will be shown live on television, and the timing could not be better. As media companies face a campaign of intimidation from the Trump administration, the figure of Murrow, standing tall in the face of demagogic adversity, is the courageous example we need right now. I don't know how different the experience will be watching at home, but 'Good Night, and Good Luck' made me reflect on what theatergoing might have been like in ancient Greece. Athenian citizens would gather at an open-air theater as a democratic privilege and responsibility. Playwrights addressed the polis not by dramatizing current events but by recasting tales from the mythological and historic past to sharpen critical thinking on contemporary concerns. Clooney and Heslov aren't writing dramatic poetry. Their more straightforward approach is closer to documentary drama, but the effect is not so disparate. We are affirmed in the knowledge that we are the body politic. CNN will broadcast the penultimate performance of 'Good Night, and Good Luck' on the eve of the Tony Awards. The production is up for five Tonys, including one for Clooney in the lead performance by an actor in a play category. But however the awards shake out, Clooney is already a winner. Like Murrow, he reminds us that conscience can still be a defining feature of the American character.
Business Wire
05-06-2025
- Business
- Business Wire
ZoomInfo's Latest Play: Premium Lead Sponsorship of Broadway's 'Glengarry Glen Ross'
VANCOUVER, Wash.--(BUSINESS WIRE)-- ZoomInfo (Nasdaq: GTM), the Go-To-Market Intelligence Platform, today announced it is the official premium lead sponsor of 'Glengarry Glen Ross,' the 1984 Pulitzer Award-winning Broadway play by David Mamet. The record-breaking limited engagement runs at Palace Theatre through June 28. ZoomInfo will be featured in the 'Glengarry Glen Ross' playbill, in the play's social media and email channels, on its website, and on lobby monitors and Palace Theatre signage. ZoomInfo will also be the leading sponsor of the show's closing party. Share Taking place in the intense setting of a chaotic 1970s sales boiler room, the revival stars Kieran Culkin, Bob Odenkirk, Bill Burr, Michael McKean, Donald Webber, Jr., Howard W. Overshown, and John Pirruccello, and is directed by Patrick Marber. The two-time Emmy Award-winning Odenkirk has earned his first Tony Award nomination for Best Featured Actor in a Play. Producers also announced that the play recently broke the Palace Theatre record for weekly gross, generating $2.4 million for the week ending May 11. ZoomInfo's partnership with 'Glengarry Glen Ross' highlights the dramatic shift underway in sales today, leaving behind legacy playbooks, stale CRM data, and siloed outreach in favor of faster, smarter, signal-driven sponsorship underscores ZoomInfo's position at the forefront of this transformation, as go-to-market teams move beyond legacy tactics to embrace a new standard of speed, intelligence, and coordination. 'Back then, you pleaded for good leads, now they find you,' ZoomInfo Founder and CEO Henry Schuck said. 'Today's reps don't need to beg, bluff, or break down doors to win. ZoomInfo gives them the GTM intelligence they need, right when they need it. For us, this partnership is a no-brainer: a go-to-market play for a go-to-market play.' Through the partnership, ZoomInfo will be featured in the 'Glengarry' playbill, in the play's social media and email channels, on its website, and on lobby monitors and Palace Theatre signage. ZoomInfo will also be the leading sponsor of the show's closing party. For more information or to purchase tickets, please visit Learn more about ZoomInfo's Go-To-Market Intelligence Platform. About ZoomInfo ZoomInfo (Nasdaq: GTM) is the Go-To-Market Intelligence Platform that empowers businesses to grow faster with AI-ready insights, trusted data, and advanced automation. Its solutions provide more than 35,000 companies worldwide with a complete view of their customers, making every seller their best seller. ZoomInfo is a recognized leader in data privacy, with industry-leading GDPR and CCPA compliance and numerous data security and privacy certifications. For more information about how ZoomInfo can help businesses with go-to-market intelligence that accelerates revenue growth, please visit
Hindustan Times
03-06-2025
- Entertainment
- Hindustan Times
Tony Awards 2025: Gazing Beyond the Stars
George Clooney in 'Good Night, and Good Luck.'If this booming Broadway season had a principal theme, it was that celebrity is the ever-jingling coin of the realm, with star-driven vehicles such as 'Othello' with Denzel Washington and Jake Gyllenhaal, and 'Good Night, and Good Luck' with George Clooney, setting records with dizzying frequency. The latter made Broadway history by grossing more than $4 million in one week—the biggest haul ever for a straight play. This, despite the fact that neither production was particularly distinguished, and 'Othello' was an outright debacle—notching zero nominations for the Tony Awards, which will be presented on Sunday. With these productions and the star-bedecked revival of 'Glengarry Glen Ross' leading the way, the season as a whole became the most financially robust ever, with grosses totaling almost $1.9 billion. A primary reason for that powerhouse number was, unsurprisingly, the prices being charged for tickets, up to $800 or $900 a seat for 'Othello' and 'Good Night, and Good Luck.' These eye-watering figures proved that, increasingly, Broadway has become a marketplace catering to the elite. The Metropolitan Opera, where there are even good seats for under $100, seems a populist playground by comparison. But if it's easy to hand-wring over the seeming celebrity money-grab, it's also pointless. Broadway producers are not philanthropists (although given that most shows never recoup their investments, which can be used as tax write-offs, they come close), and if people are willing to shell out more than a mortgage payment to be sprinkled in stardust, that's their choice. Savvy theatergoers know there are many mechanisms in place to buy cheaper tickets even to the scalding-hot shows. The more heartening story of the season was the wealth and variety of productions on offer. Broadway is often derided as a marketplace where innovation is rare and formulas reign supreme: Proven brands—a movie, a pop catalog—are repurposed for the stage. But as this year's sometimes startlingly strange breadth of offerings proved, that's increasingly not the whole story. Consider this peculiar bit of trivia: Two shows in contention for the best musical Tony featured corpses in leading roles. In the appealingly loopy 'Dead Outlaw,' Andrew Durand, a worthy nominee, spent roughly half the show encased in an open coffin, his character—a hapless criminal—having been killed midway through the musical. And while the dead guy isn't really a notable presence in 'Operation Mincemeat,' this jolly British import revolved around the bizarre but true tale of a World War II espionage plot in which a corpse bearing false documents was dumped overboard near Spain to divert attention from an Allied maneuver. If you include the glossy 'Death Becomes Her,' in which the principal female characters essentially die midway through, having secured an eternal afterlife, that makes three Tony-nominated musicals with the queasy subject of mortality at center stage. The musical that's all but guaranteed to take home the top prize, with good reason, also had a novel plot. The bewitching 'Maybe Happy Ending' depicts a romance between robots who have been put out to pasture to wait for their batteries to die. Directed with ingenuity by Michael Arden (who should win his second Tony in three years, after the revival of 'Parade'), the show is a moving exploration of the difficulty—and necessity—of committing to love. (The most egregious Tony omission is the lack of a best actress nomination for Helen J Shen, although that category is the most hotly contested, with Audra McDonald potentially winning a seventh Tony for 'Gypsy,' facing stiff competition from the luminous Nicole Scherzinger in 'Sunset Blvd.,' and the highly praised Jasmine Amy Rogers of 'Boop!' possibly playing the spoiler.) The best-play nominees also illustrate how Broadway has become increasingly open to fresh voices and unlikely subjects. Exhibit triple-A would be 'Oh, Mary!' Written by and starring Cole Escola, whose fierce and funny performance as a deranged (and decidedly ahistorical) Mary Todd Lincoln will surely win a Tony, this exuberantly vulgar romp became the season's most unlikely smash, and has a strong chance of taking home the play prize, which would make the playwright and performer the owner of very fancy bookends. The other nominees also cover a wide range of subjects. Most conventional is Branden Jacobs-Jenkins's powerful if prolix Pulitzer Prize winner 'Purpose,' in the time-hallowed American tradition of fractious-family plays, and probably the chief competitor to 'Oh, Mary!' But the other three works nominated would also be worthy winners: Sanaz Toossi's Pulitzer-winning 'English,' about a class of adults learning the titular language in Iran; Kimberly Belflower's 'John Proctor Is the Villain,' a sharp, funny dive into the troubled, inquisitive minds of high-school students critiquing Arthur Miller's 'The Crucible'; and Jez Butterworth's mournful 'The Hills of California.' (Further encouraging evidence that the Tonys aren't just rubber-stamping branded vehicles: the omission of the dreary stage spinoff of 'Stranger Things' from the category.) Taking in the entirety of the nominees in all categories, I was struck by how few, if any, I could possibly quibble with. (A critic without quibbles? Show me a unicorn.) Given the superb work presented on Broadway this season, that sugary cliché—it's an honor just to be nominated!—rings true. For once. Mr. Isherwood is the Journal's theater critic. Get 360° coverage—from daily headlines to 100 year archives.
Boston Globe
28-05-2025
- Entertainment
- Boston Globe
For actors sojourning on Broadway, TV stints are a hard act to follow
Consider the current revival of 'Glengarry Glen Ross,' David Mamet's 1984 drama about skeevy real-estate salesmen trying to stay afloat in a shark-infested environment. Slated to run at the Palace Theatre through June 28, the play stars Bob Odenkirk, Kieran Culkin, Michael McKean, and Bill Burr. 'Glengarry Glen Ross' is a juicy slice of early Mamet, and it's an excellent production, no question, as directed by Patrick Marber. Advertisement But does the play rank ahead of the best episodes of 'Breaking Bad' (where Odenkirk played sleazy lawyer Saul Goodman), or the spinoff ' No, no, and no. Jean Smart is starring in a solo show on Broadway titled 'Call Me Izzy,' described as 'a darkly comedic story about one woman in rural Louisiana who has a secret that is both her greatest gift and her only way out.' The play, written by Jamie Wax and directed by Sarna Lapine, with music by T Bone Burnett, just began preview performances and is not yet open to the press. Advertisement As with anything involving Smart, 'Call Me Izzy' is a must-see, but it's very hard to envision it being the role of Smart's career. That superlative currently describes her ' In a remarkably gutsy move, Sarah Snook, who played Shiv Roy on 'Succession,' is making her Broadway debut in 'The Picture of Dorian Gray," a one-woman show in which she plays 26 characters. I haven't seen it yet, but hope to do so. But I doubt that any of those 26 characters can do or say anything that will leave me as shaken as Snook did in that ferocious balcony scene between Shiv and her husband, Tom Wambsgans (Matthew Macfadyen). The seething contempt Snook brought across in just a glance at her loathed husband amounted to the kind of master class in acting that most performers can only dream about — and she didn't need a stage to do it. Don Aucoin is the Globe's theater critic and an arts-critic-at-large. Don Aucoin can be reached at
Yahoo
20-05-2025
- Entertainment
- Yahoo
David Mamet On Return To Cinema With Self-Distributed ‘Henry Johnson', State Of The Industry & J.K. Rowling-Inspired Play He's Writing For Rebecca Pidgeon
We kick off the 2025 summer season of the Crew Call podcast with a candid, wide-ranging conversation with Pulitzer-winning playwright and two-time Oscar nominee David Mamet. Mamet has directed a new movie, Henry Johnson, his first in 12 years, based on his 2023 play that premiered in Venice, CA. The pic, which is self-distributed and available to rent digitally, follows the title character (played by Mamet's son-in-law, Evan Jonigkeit), who after helping a friend out becomes collateral damage and complicit in his sex crime affairs. This leads Henry Johnson to jail. He looks to authority figures he encounters along the way including his eventual cellmate, Gene (Shia LaBeouf). Henry's journey leads him down a road of manipulation and ethical uncertainty. More from Deadline Shia LaBeouf Stage Debut In David Mamet Play 'Henry Johnson' Extends Run – Update 'Glengarry Glen Ross' Broadway Review: Kieran Culkin, Bill Burr & Bob Odenkirk Break Bad In Unmissable Succession Of Cutthroats All-Female 'Glengarry Glen Ross' Expected For Broadway Following Kieran Culkin, Bob Odenkirk & Bill Burr Limited Engagement We talk with Mamet about the origins of Henry Johnson, LaBeouf's sublime performance (and how Mamet doesn't believe in method actors), the state of the motion picture industry and how streaming is killing it, and his wisdom when it comes to self-distribution. 'Anyone can make a movie and distribute it and take their chances,' says Mamet. 'Your chances of people seeing that movie are not less than your chances of going to offices in Hollywood for 10 years to convince some f*cking idiot to look at your work.' Also, it's been a while since we've seen Mamet pen a big studio movie, ala his previous event movies such as The Untouchables, Hannibal, The Verdict and Ronin. Why? Well, when studios want to hire Mamet, they have to follow his rules: 'Give me a lot of money and feel free to f*ck it up of which I'm going to hell, or give me enough money to get the movie made, have me submit my director's fee and leave me alone. Both of these things were acceptable. Only one of those things were normal, but both them were acceptable.'We also chat about the buzzed-about female stage version of Glengarry Glen Ross ('We did a reading a few years ago, Rebecca Pidgeon played Ricky Roma, and Felicity Huffman played Shelley Levene); his Harvey Weinstein-inspired play Bitter Wheat and why it never made it to Broadway ('Broadway has become very, very problematical, and it was the height of the woke insanity and the thought of doing a comedy about guy who was a libertine, as if Moliere never existed, was thought not quite the thing), and what he really thinks of the now incarcerated mogul. Also, what's next: 'I'm writing a play for Rebecca about these two women who need to kill J.K. Rowling. I'm writing a screenplay now and I think I might have found some suckers to give me a couple of bucks to make it, about a couple of old confidence men, who got jammed up, and have to resort to some odd measures to take a mark to the cleaners.' Best of Deadline Sean 'Diddy' Combs Sex-Trafficking Trial Updates: Cassie Ventura's Testimony, $10M Hotel Settlement, Drugs, Violence, & The Feds All The 'Mission: Impossible' Movies In Order - See Tom Cruise's 30-Year Journey As Ethan Hunt Denzel Washington's Career In Pictures: From 'Carbon Copy' To 'The Equalizer 3'
