The Fairy Princess was glued to the Golden Globes for several reasons – and here is one of them:
Billy Porter makes everything extra – and she is here for it.
And though he has not said this directly to her, she knows that this would be something he would say, if she had asked his feelings on being nominated for the role of PRAY TELL in the ever delightful show, POSE on F/X.
Uh huh. So delightfully extra and BRAVO you talented, MF!
Second reason – and no it is not a competition, rather an indication of which one she knows longer – is this PHENOMENALLY TALENTED PERSON….
Two time Golden Globe Winner, Sandra Oh.
She is a trailblazer – first Asian descended Actress to win multiple Golden Globes, first to Host the ceremony itself, and first one to do an Asian flush joke on national television.
If you have NOT seen her amazing show on BBC America, KILLING EVE, get yourself on that RIGHT NOW!
It is everything!
Also congrats to fellow Hapa, Darren Criss – who picked up the Golden Globe to match his EMMY Award for the same role – as Hapa, Andrew Cunanan – in The Assassination of Gianni Versace: American Crime Story.
Darren thanked his Mom who hails from Cebu in The Philippines.
Sandra Oh thanked her parents, who attended the ceremony with her, in KOREAN – “Mommy, Daddy, I love you” and then she friggin executed a filial bow.
TFP was DONE!
Check it for yourself.
Overall, it was a very AAPI night at the Globes – and let’s face it, when you have NOT seen yourself, EVER on an Awards show and then, all in the same night – there are two winners and CRAZY, RICH ASIANS is nominated and the trailer shown…you are going to be feeling yourself – AND THAT IS OK, AND THAT IS WHAT WHITE PEOPLE FEEL LIKE ALL THE TIME!!!!!
TFP thought the GG did a great job in the winners in all the Actress categories – she felt like the women who had INVESTED in their careers – decades – were recognized and honored. It was not all about the cute, young thing in the sparkles, and that was a welcome relief.
Watching it, she felt like Sheila in A CHORUS LINE.
(Not that she wants you to smoke, you should totally NOT smoke !)
Now on to BROADWAYCON!!!!!
It starts THIS FRIDAY and runs until Sunday, Jan 13 and it is CHOCK A BLOCK with Broadway Stars and Panels and a Marketplace and also – IT IS BACK IN THE MIDTOWN HILTON, which is where we were the first year in the GIANT BLIZZARD that shut the city down!
TFP will be hosting the panel that talks about AAPIs ON BROADWAY!
Gramercy West Room
SUN JAN 13 10AM
with these beautiful Broadway Babies:
Manu Narayan – BOMBAY DREAMS, MY FAIR LADY 2018 REVIVAL, GETTIN’ THE BAND BACK TOGETHER, Roundabout’s MERRILY WE ROLL ALONG revival. Films: The Love Guru, Walkaway, The Last Airbender, A Cinderella Story, 99 Homes, Good Night Good Morning
Kelvin Moon Loh – SIDE SHOW, KING AND I revival 2015, SPONGEBOB SQUAREPANTS, CSC’s revival of PACIFIC OVERTURES, National Tour of AMERICAN IDIOT, The Public’s HERE LIES LOVE and upcoming Broadway premiere of BEETLEJUICE
Orville Mendoza – PACIFIC OVERTURES, PETER AND THE STARCATCHER, CSC’s revival of PACIFIC OVERTURES, ATC’s FOUND, The Public’s TIMON OF ATHENS, Off Broadway’s ROAD SHOW, Off Broadway’s ROMEO AND JULIET, Off Broadway’s ADRIFT IN MACAO, La Jolla’s revival of THE WIZ, Actor’s Fund Concert of HAIR – and bound for Broadway’s show based on Huey Lewis’s music – THE HEART OF ROCK AND ROLL
DEFINITELY do not miss it – and if you are ABSOLUTELY unable to get there – TFP has arranged for it to be LIVE STREAMED on the OFFICIAL ERIN QUILL FB page – so you can watch it in real time!
But do not NOT get there because it is too early – TFP does not want to hear about ‘too early‘ – quid pro quo MF ers!
These performers show up for YOU all the time – 8 shows a week. They give up holidays and time with loved ones to make sure they knock it out of the park every, single time – so all we are asking for is your BUTTS in the SEATS!
Come and see and hear what they have to say about where we are, where we are going, and what their focus is going into 2019.
OK, TFP has a lot – A LOT – to say about the current AEA strike in regards to the LAB Contracts, but it boils down to this – the Farmer and the Cowman can’t be friends.
The Producers and the Actors are never, ever going to see eye to eye on this – and here is why – one is in love with the financial, one is in love with the craft, but the craft could vanish in an instant.
Which is why a guaranteed, relatively small ‘residual’ payment for the Actor, would be of use. It would be, not only an acknowledgement of services rendered, but one of ‘use’ in a real and viable way.
No, not all Producers only care about the ‘bottom line’, many are artistic in their choices, but their investors do. Which is why AEA has been trying for TWO YEARS to get this situation adjusted. When the original Lab, Workshop etc performers are the vessel of the show’s ability to transfer to Broadway, the Actors should be compensated.
Why, you ask?
When you, as an Actor, begin to work on ‘Your ” show, and that is what we Actor’s call it – “Our show/My Show” – we take ownership of it because we have to channel our bodies and souls to show up and do those 8 shows a week.
We take as much ownership of it as the Producers and Creatives because we know we were vital to the process. We are the vessel of change.
When you put your heart and soul into – workshop after workshop, lab after lab, reading after reading with very little financial gain you do it for a purpose, to get the show up.
For the thrill of saying ‘We did it!’ and of course for a steady paycheck as it runs.
If you are lucky, you see “your” show running for YEARS – and yet the Actor, once they leave, can find themselves in the position of having to apply to The Actor’s Fund for assistance to pay rent, or health insurance, or mortgage – it’s not a sustainable system.
Some shows are totally upfront and reasonable –
and that has to do with the Creatives and the Producers.
or the Heirs of the Estate – who feel it is the moral thing to do.
Thank you to the Larson Family, who, TFP believes were the first ones to implement this change, they are the exception – not the rule.
Some casts have to sue their producers to try and recoup their ‘investment’ in the show’s creation.
Just sayin’.
An Actor’s ‘investment” you say? What is that?
That is time and talent. Their ‘investment’ is turning down other gigs so that they are available to run it again and again in the Lab so that the Creatives can hear where it needs to be ‘tweaked’.
Their ‘investment‘ is their personal creative energy that takes lines on a page, and transforms them to something ‘other’. It is their being able to go the Creatives and say “Hey, this line…I’m not feeling the character would say that”, and a change happens and then MAGIC.
You do not know, when you go into a Lab what the “something’ is that you are going to come out with. The pressure nowadays is fierce. The risk is huge – and people who take the biggest risk – the Producers – deserve to recoup, they do.
Not at the expense of the Actor.
A residual payment from an Original Lab or Workshop can make a difference in an Actor’s life. A huge friggin’ difference. They can secure a mortgage, for example, if the show is a big hit. They can send their kid to therapy or a school that may have been out of reach prior. It is a quantifiable difference, easily measured.
To an Actor, those payments make a difference. They are a return on their investment. They are the ability to believe you are not ‘crazy’ for trying to succeed in the crazy business of show.
The ‘something’ they create – that could give the Producers the ability to charge several hundred dollars per ticket, as they transfer to Broadway.
The Actor’s ‘investment’ is the meeting of the minds with the Authors, so magic can happen.
When a show runs, long term, there are re-creations of the show that happen as replacements and understudies come in – and those sparks of inspiration were born in a Lab, which lead to a more comedic or dramatic moment are put IN to the show, and there they stay – forever more.
No matter who does the role. They are moments written in to the Stage Manager’s ‘show bible’ of what is supposed to happen to maintain the show, kept there – under glass – sacrosanct.
No compensation.
Even if you were the Actor who came up with ‘that’ whatever moment, gesture, ‘take’.
Nothing. Nope. Nada.
Now, in television and film – Actors get residuals. It comes, after the first year or so – to pennies on the dollar. For example, TFP saves her residual checks, which come to sometimes, thirty cents – until she has a bunch and then she deposits them. It is not a lot, however it does let her know that her contribution to that television show or film is acknowledged and appreciated.
That is what the Actors of AEA want – to know that – if they were part of the ORIGINAL Lab or workshop and the show goes to Broadway, that they are acknowledged with financial recompense.
Because their contributions are worthy and helped shape the show.
TFP worked for some truly gifted Creatives and Producers this past summer – and she would love to work with them again.
She hopes this all works out.
Eleven years, no raise. Eleven years of investment, and no return other than a show poster, maybe some show SWAG, and random recognition that fades after you do not win some award?
Come on….
Even if you are NOT an Actor – would you stay in a job where you did not get a raise in 11 years?
When you open your laptop and check your phone and find that Broadway has had it’s most successful year just moments ago in 2018?
BTW, that is a screen shot from their website – The Broadway League’s.
Everyone please – let’s be civil.
Work this out so we can get back to work.
As Hammerstein wrote:
“One of them likes to push a plow, the other one likes to chase a cow –
but that’s no reason why they can’t be friends.”
Sing it.
NO REASON.
THE PLOW CAN GIVE A POINT!
IT IS BUT ONE PRONG ON THE PLOW!
To quote another show, one that is going on National Tour starring several delightful people….written by William Finn:
“It’s about time, don’t think? It’s about time to grow up, don’t you think?
It’s about time to grow up and face the music. It’s about time”
TFP out.
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