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‘Beetlejuice Beetlejuice’ is a Solid Slice of Fan Service

Beetlejuice was, in essence, a slyly original movie about ghosts who are stuck in a kind of purgatory. So it’s fitting that a long-gestating sequel to the 1988 classic has been seemingly trapped in development hell as long as the titular bio-exorcist has been, well, dead.Nixed screenplays with titles like “Beetlejuice Goes Hawaiian” and “Beetlejuice in Love” have come and gone; the original screenwriters have passed into heaven’s waiting room; Alec Baldwin has long since aged out of playing 30-year-old hunks; and Tim Burton has spent decades teasing the possibility of a sequel while occupied with more pressing projects like, uh… Dumbo.Now, thirty-six years after Beetlejuice became a morbid hit — a gap equal to the passage of time between Citizen Kane and Star Wars — the aptly titled Beetlejuice Beetlejuice is finally shake, shake, shaking into theaters.
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‘The Nance’ at 1st Stage: Pansy Division (Review)
The Nance, directed by Nick Olcott.With careful discretion, Chauncey arranges an assignation for later with the younger man, Ned, a whippersnapper fresh from Buffalo played with aw-shucks joie de vivre by Patrick Joy.While an opening scene set at the Irving Place Theatre establishes Douglas Carter Beane’s well-plotted comedy-drama within the world of 1930s burlesque, the automat scene succinctly, incisively characterizes Chauncey and his compromised existence as a practicing homosexual at a time and place where that could easily get you arrested.It’s also a time when he might happen to get arrested for doing his job as a burlesque performer who specializes in a pansy act, camping it up onstage as the flamboyantly gay stock character known as “the nance.”The play — a winner of three Tonys in its original Broadway production starring Nathan Lane — finds Chauncey and his fellow artists of the burlesque revue at the Irving Place squarely in the sights of city authorities cracking down on these risqué cabaret showcases for ecdysiasts and vaudeville comedians.There’s a great montage in Singin’ in the Rain during the “Broadway Melody Ballet,” showing the rise of Gene Kelly’s Don Lockwood from burlesque hoofer to vaudeville showman to Broadway headliner. The quality of refinement in Don’s costumes, choreography, and chorus girls steadily sparkles brighter, along with Don’s million-dollar smile as he ascends to the top.The denizens of The Nance dwell near the bottom of that stairway to paradise, on the seedier side of Manhattan.
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