By Jared Chausow
By Katie Toth
By Elizabeth Flock
By Albert Samaha
By Anna Merlan
By Jon Campbell
By Jon Campbell
By Albert Samaha
In the bedroom, a guest anxiously pushed past me to call her mother, who'd just had surgery. "Awww," I moaned, sympathetically. "A face-lift," she deadpanned. In the living room, a chanteuse described as the Asian Shirley Bassey was belting that Titanic song that makes you instinctively reach for a life raft. Everyone looked stunned--or maybe they just couldn't blink. Rather than jump ship, I caught up with Roxanne, who was singing the praises of Pilates, while her hubby flashed a box of Smoker's Vitamins. This is the same guy she broke up with a couple of years ago, but Roxanne told me that after she sued him (a long story), they got back together, clearly turned on by the financial antagonism. "And a vibrator only goes so far," she laughed.
By now, the telephone lady had finished her call and announced, "My mother's fine. I'll get one next." But in the meantime, she lifted the mike from the Shirley Bassey woman and started singing "New York, New York"! Just then, Tina Louise popped up and revealed unexpected talents of her own. Her book, Sunday, she said, "is like a birthing. It's growing! Howard Stern said he cried when he read it." (I bet Robin Quivers kept on giggling, though.) Just what is this growing birthing about anyway? Well, said Tina, "I was born to a teenage mother and went through a period of abandonment"--in day care, not on Gilligan's Island. She feels her story's extremely topical now that babies are being born into trash cans, closets, and toilets. "There's no communication," she lamented. "This is 1998 and there's no comfort level!" Plus the Swedish meatballs had run out.
And so had I--back downtown, to Timothy Greenfield-Sanders's bash for the birthing of his loving PBS documentary Lou Reed: Rock and Roll Heart, where I didn't see a single pregnant teen or any other kind of premature implant. The scene was like Max's Kansas City 20-some-odd years later, all the old punks now coming off like rich icons with very high comfort levels (though they can still certainly throw attitude). Greenfield-Sanders told me the movie leaves out the specifics of Reed's sexual walk on the wild side because "Sex, drugs, and rock and roll is such a cliche." Oh no, you mean I'm two-thirds of a cliche?
As for that other third--if we can move on here--one wonders if the creators of Midtown's musical about Uptown, High Society, are society or just high. But let's be fair--the show is nowhere near as campily horrific as I'd hoped. There's some fizz to the thing, and John McMartin (as the drunken letch) and Anna Kendrick (as the all-knowing brat) pepper the night with saucy shtick. Alas, the interpolation of unrelated Cole Porter songs is as strained as baby food ("Say, what's that exotic dancer like?" segues into "She's Got That Thing"). Even more fatally, while Melissa Errico's a fine singer-dancer, she radiates not one iota of chemistry with any of the three guys she has to juggle all night--perhaps understandably, as they're all rather reptilian. The gods of Broadway were clearly being capricious when they gave Errico every single component of musical comedy stardom except a natural instinct for acting. But at least she doesn't need surgery.
That nonmusical about bi society, The Judas Kiss, comes alive when it gets really depressing in act two. But most depressingly, while both the play's acts begin with nudity, Liam Neeson stays fully clothed throughout--probably because they didn't want the folks in the balcony to get their eyes poked out.
Keep your eyes peeled for the male genitals in Artemisia, a French flick about Artemisia Gentileschi that's alternately exquisite and exquisitely boring. Before the premiere screening, as art dealer Richard L. Feigen gave a speech about Artemisia's Caravaggio-esque lighting and mythic stature as a figure painter, everyone (all right, I) was turning around to see if cohost Madonna had arrived. She had, but for once wasn't the centerpiece of the evening's controversy.
See, Erica Jong's daughter Molly was busy handing out protest fliers by the bathroom (courtesy of Gloria Steinem and art historian Mary Garrard) saying the movie glorifies the "multiple sex offender" who was convicted of Artemisia's rape and feeds into stereotypes of women falling in love with their rapists. Two seconds later, the well-prepared Miramax folks supplied a response from the director, Agnes Merlet, which reminded that the movie shows Artemisia reacting violently to the rape, and added that, like it or not, she and the scoundrel seem to have shared a passionate relationship afterward. Come on, you don't get this kind of debate after movies like Paulie.