Blog Stage - Acting in Film, TV, Theatre

Damage Control

After AFTRA decided to "suspend" its 27-year joint bargaining agreement with SAG over the weekend, SAG President Alan Rosenberg dispatched a letter to Guild members on March 30 in which he challenged AFTRA's claim that the joint-bargaining relationship between the two unions disintegrated because of the incident surrounding The Bold and the Beautiful.  AFTRA quickly issued a press release pointing fingers at SAG for being dishonest.

In her blog, Nikki Finke published Rosenberg's letter to members, which included these juicy tidbits...

"AFTRA leaders claim…That SAG attempted to 'raid' its jurisdiction and to “campaign” to help The Bold & The Beautiful daytime drama actors decertify from AFTRA.

FACT: Actors from the show, who are also SAG members, asked to meet with us. We heard their complaints of extreme dissatisfaction with AFTRA, AND DIRECTED THEM TO TALK WITH AFTRA. We did not have a campaign of any kind. 

AFTRA leaders claim… The Bold & The Beautiful incident was 'the last straw,' but waited more than two weeks to raise the issue. Instead, the day before the joint SAG/AFTRA board meeting, they alerted the press (not SAG) and accused us of poaching. Two days earlier, they had participated in our two-day national joint Wages & Working conditions meeting where members of both unions VOTED UNANIMOUSLY to approve the proposal package. Didn’t the 'last straw' matter then?

AFTRA never has stated how it plans to come to the aid of the B &B actors. They are too busy blaming us for the problem. Institution first, members last.

FACT: SAG IS NOT INVOLVED IN ANY WAY IN ORGANIZING DAYTIME DRAMA ACTORS. While we have great respect for daytime actors, this is AFTRA’s area. In fact, the SAG national board passed a motion Saturday morning to assure AFTRA (as AFTRA requested) that SAG will abide by the AFL CIO rules regulating raiding.

FACT: Despite this expression of good faith and reassurance from SAG, AFTRA leaders voted to 'suspend' Phase One and go it alone. They marched into our board meeting, said they would not be bargaining jointly, and left. The joint board meeting to approve the proposal package for joint bargaining never even took place.

AFTRA leaders claim …SAG has undertaken a campaign to discredit them.

FACT: AFTRA bargained cable deals at rates lower than SAG minimums and waived residuals. They fully admit this and are now getting backlash from members who are wondering where their residuals went. AFTRA must be accountable for granting these waivers to the contracts we have fought hard to achieve. Again, how is this problem SAG’s fault? Will they now go bargain these sub-standard contracts for primetime network/pay TV programs and lower the bar for all SAG actors in the process?

AFTRA claims …that SAG Hollywood leaders are looking for a strike.

FACT: Not true. Nobody wants a strike, especially after the 100 day WGA strike. Elected SAG leaders across the country want to be strong on your behalf at the bargaining table. YOU elected your leadership. You elected me to achieve the best possible wages and working conditions. While the DGA and WGA made deals, we are not directors or writers. We are actors, and actors have different issues that are not in the DGA and WGA deals." 

Rosenberg ended the letter saying SAG was ready to negotiate with the AMPTP, especially given the national board's approval of the Wages and Working Conditions package on March 29. He also vowed to continue to "work hard to improve the lives of all actors and their families."

Meanwhile, AFTRA issued a press release that also claimed to have performers' best interests at heart.  Roberta Reardon, National President of AFTRA said...

"AFTRA's leadership believes that our union must devote its energies first and foremost to working on behalf of performers...During the past year, AFTRA has fought hard and expended an enormous amount of time, energy, and resources to maintain the integrity of our Phase One joint bargaining process with Screen Actors Guild so we could sit across the table from the industry with total and unequivocal unity. Unfortunately, SAG leadership has made this impossible.

"For the past year, SAG leadership in Hollywood has engaged in a relentless campaign of disinformation and disparagement, culminating in a recent attempt to decertify an AFTRA daytime soap opera. As a result of this continued and ongoing behavior by SAG leadership, which at its core harms all working performers and the labor movement, we find ourselves unable to have confidence in their ability to live up to the principles of partnership and union solidarity. AFTRA believes it must now devote its full energies to working on behalf of performers, and not wasting time assessing whether our partner is being honest with us.

"The board's approval of a suspension of Phase One -- not a termination -- was mindful of the fact that there many among SAG's leadership that are as troubled by the events that have led us to this point as we are. We are hopeful that someday, the historic trust between these two organizations can be rebuilt -- in the best interests of all performers," said Reardon. 

The release also announced that internally AFTRA has approved a deal on behalf of performers with the four major broadcast networks...

"In unanimously approving the tentative agreement with the four major television networks and producers on the AFTRA Network TV Code, the National Board noted that the new agreement contains solid increases in wage rates for all categories, increased contributions for the AFTRA Health and Retirement plan, and addresses discrete issues affecting every category of performer. In addition, the agreement preserves significant principles which are a hallmark of AFTRA contracts -- such as universal coverage of background performers and contract security for daytime serial contract players."

Before concluding the release, AFTRA again noted how the new deal will benefit performers, especially in one of the areas of most concern -- new media...

"This contract is extraordinary for performers and made significant progress on many fronts, including importantly new media jurisdiction and compensation," said Reardon.

Obviously, both unions are eager to paint themselves as the biggest advocates for performers. Now it's just a matter of who can pound out a deal with the AMPTP first. We're taking bets...got 20 bucks?

Nominations Announced for Lortel Awards

The League of Off-Broadway Theatres and Producers has announced the nominations for the 23rd Annual Lucille Lortel Awards for outstanding achievement Off-Broadway, to be presented May 5 at the Union Square Theatre, 100 East 17th St. A limited number of tickets for the ceremony will go on sale to the public on April 1 through the Union Square Theatre Box Office and ticketmaster.com. The Lortels, awarded since 1986, will include three special awards given to Theodore Mann (the Edith Oliver Award for Sustained Excellence), Primary Stages (Outstanding Body of Work), and Horizon, produced by New York Theatre Workshop (Unique Theatrical Experience).

--Anna Bengel

AFTRA Goes It Alone

The gloves are officially off!

AFTRA leaders made the much anticipated joint meeting with SAG board members short, sweet, and controversial today. According to published reports, AFTRA president Roberta Reardon and her coterie announced the union will suspend their 27-year joint bargaining agreement with SAG in order to negotiate a primetime TV agreement directly with producers.

In a just-released statement, Reardon implied SAG's recent attempt to gain jurisdiction over the soap opera The Bold and the Beautiful--which has been operating under an AFTRA contract for 50 years--was the final straw.

"SAG leadership in Hollywood has engaged in a relentless campaign of disinformation and disparagement, culminating in a recent attempt to decertify an AFTRA daytime soap opera," Reardon stated. "As a result of this continued and ongoing behavior by SAG leadership, which at its core harms all working performers and the labor movement, we find ourselves unable to have any confidence in their ability to live up to the principles of partnership and union solidarity."

"AFTRA believes it must devote its full energies to working on behalf of performers, and not wasting time assessing whether our partner is being honest with us."

Oooh, snap!

SAG President Alan Rosenberg sounded somewhat shell-shocked in his statement responding to AFTRA's action. "We spent weeks working with our fellow actors in AFTRA on joint proposals to improve the lives of all working actors," he stated. "AFTRA's refusal now to bargain together with us and their last-second abandonment of the joint process is calculated, cynical and may serve the interests of their institution, but not its members."

AFTRA's move took this Strike Watcher by surprise. The two unions appeared to be working together more harmoniously than in recent months when they jointly announced their Wages and Working Conditions Committees had approved proposals the national joint board would have considered today. Fortunately, my esteemed colleague Andrew Salomon pointed out one never knows what's going to happen given SAG and AFTRA's rocky past. Tis very true today and will make for some awkward moments in the halls of 5757 Wilshire Blvd. on Monday morning.

Meanwhile, the AMPTP just weighed in with a statement applauding AFTRA's move. The producers and AFTRA have always been on the same page about opening talks as soon as possible. Now that AFTRA has decided to go it alone, I expect their negotiations (sans SAG) could begin as early as this week.

The AMPTP stated, "We are determined, as we have always been, to work hard and bargain reasonably with the actors' unions so that we can all avoid another harmful, unnecessary strike."

We'll keep you posted....

--Lauren Horwitch

2008 M. Elizabeth Osborn Award Winner Announced

The American Theatre Critics Association (ATCA) announces that Elyzabeth Gregory Wilder is the winner of its 2008 M. Elizabeth Osborn New Play Award for an emerging playwright. The award is based on her career, but is focused on her 2007 play Gee's Bend, which depicts the turbulent history of African-Americans in the 20th century by focusing on a single family in the real community of Gee's Bend, Alabama.

The Osborn Award, established in 1993 to honor the memory of Theatre Communications Group and American Theatre play editor M. Elizabeth Osborn, is designed to recognize the work of an author who has not yet achieved national stature (e.g. has not had a significant New York production, been staged in more than a few regional theatres, or received other major national awards). The award includes a $1,000 prize and honorees are recognized in The Best Plays Theatre Yearbook.

Gee's Bend was commissioned by the Alabama Shakespeare Festival's Southern Writers Project, with a 2006 reading in the Project's Festival of New Plays and a fully-staged premiere in January 2007 at the Alabama Shakespeare Festival. It has since toured the state and received productions across the country, with more scheduled for this year.

The award will be presented tomorrow, March 29 at the Humana Festival of New Plays in Louisville, KY.

-- Daniel Lehman

Playing Nicely... For Now

As my esteemed Left-Coast colleague Lauren Horwitch reported yesterday, SAG and AFTRA seem to be playing nicely after nearly severing relations earlier this year. But before everyone holds hands and cues up "Reunited", there is still a strong sense of wariness as the two sides finalize a list of demands for the studios and networks on a new TV/film contract. Two sources indicated to Strike Watch earlier in the week that no one is ready to commit to the idea that an amicable negotiation, at least on the union side of the table, means that long-standing issues between SAG and AFTRA will be resolved quickly.

"The balance of politics and issues for this coming weekend is razor [thin], to say the least," one wrote in an email this week.

That may have something to do with the members of the unions' joint negotiating committee. According to Daily Variety, representatives for SAG include George Coe and David Joliffe, partisans of Membership First, the Los Angeles-based faction that holds a vast majority of the seats in the Hollywood branch and has favored a hard-line stance against AFTRA. According to a Membership First source, Coe contemplated resigning his seat on the board after SAG withdrew in February a resolution that might have dissolved Phase One, the longtime joint-bargaining agreement the guild has with AFTRA. Then again, it may not have anything to do with that at all. No one is commenting much outside of news releases.

Still, it stands to reason the unions will do their best to find common ground in the run-up to talks with the networks and studios. What happens after that is anybody's guess.

--Andrew Salomon

'Stop-Loss'

Stop-Loss boasts the same emotional sensitivity and fine craftsmanship of filmmaker Kimberly Peirce's acclaimed feature debut, Boys Don't Cry. Unfortunately, it lacks the key element that made that film such a transcendent experience: a tour de force lead performance.

Ryan Phillippe stars as Brandon King, a good ol' boy Texas soldier who's just come home from Iraq. Brandon is eager to return to civilian life, but finds himself the victim of "stop-loss" -- a military policy wherein soldiers are sent back into combat after they've completed their voluntary contracts. He bolts, going on an impromptu road trip with his best pal's girlfriend (Abbie Cornish), hoping to find a way out.

The role of Brandon requires a good deal of dramatic heavy lifting, and Phillippe just isn't quite up to the task. He goes through the motions, occasionally hinting at solid, honest emotion, but he never fully reveals the conflicted soul viewers are supposed to connect with. There's something a little blank slate-ish about his presence, a stoicism that's been used to fine effect in films like Breach and Crash. Here, it doesn't quite work - we never truly feel Brandon's passion and anguish the way we should.

This wouldn't be quite so noticeable if the cast around Phillippe wasn't so uniformly excellent. As Brandon's unstable buddy Steve, rising star Channing Tatum (Step Up, A Guide to Recognizing Your Saints) proves that he's one to watch, infusing his performance with charisma and verve. Joseph Gordon-Levitt, meanwhile, continues to demonstrate that he's one of the most interesting young actors working today: playing a tormented, sleepy-eyed vet, he makes you feel his character's lack of direction and deep-seated pain. The Australian Cornish (Elizabeth: The Golden Age) is appropriately understated as Michelle, Steve's girlfriend, and lets her beautifully expressive eyes do most of the talking. Relative newcomer Rasuk, meanwhile, almost steals the show entirely as a badly-injured vet trying to keep his good spirits about him.

Though Phillippe's ho-hum performance leaves a bit of a hole at the center of the film, Peirce is still in fine form. She tells her story with a keen focus on simple human emotion and an obvious empathy for the plight of her characters. The Iraq-set combat scenes are brutal and devastating, while the States-side sequences pack just the right amount of dramatic punch. If nothing else, Stop-Loss shows us that Peirce isn't merely a one-hit wonder. We can only hope that next time, she'll find a star worthy of her talents.

Reviewed by Sarah Kuhn
sarahkuhn@backstage.com
Genre: Drama   
Director: Kimberly Peirce
Written by: Mark Richard & Kimberly Peirce
Starring: Ryan Phillippe, Channing Tatum, Joseph Gordon-Levitt, Abbie Cornish, and Victor Rasuk

Think Broadway Is Expensive?

Theatre critic Mark Shenton writes in his blog for the U.K.'s The Guardian that "the West End is now officially more expensive to see a show than on Broadway. Top price tickets to see the original production of Hairspray in New York are currently $110 (£55), whereas it costs £60 to see the same show at London's Shaftesbury Theatre. Ditto the Royal Opera House, which is already the most expensive opera house in the world, with a current top price of £195, compared to the New York's Met (£147), Milan's La Scala (£160) or Glyndebourne (£190)."

Shenton notes that in a "Robin Hood" move, some of the most expensive tickets at London's Royal Opera House will continue to rise in price, while the "cheap" seats will get a little cheaper. And even though ticket prices likely cannot be cut without sacrificing cast or production values, attempting to democratize the theatre once again -- in price, at least -- would undoubtedly bring  a large new audience to many shows.

Just don't complain about the weak dollar quite yet. Our theatre-going friends across the pond are getting ripped off, too.

-- Daniel Lehman

'No' Contest

Readers continue to write in about our new column Secret Agent Man, written by an anonymous talent agent. Here are two such letters. The first is in regard to the March 13 column, "No." The second is in response to the Feb. 28 column, "The History Boys (and Girls)." To read Secret Agent Man online, click here.

I wanted to express my gratitude for your recent Back Stage article about the importance of saying no. I am an early-career actor new to NYC, the experience of which has been expectedly slow-going, mostly in part to my feeling that actors -- especially women -- are too apt to do anything.

I was particularly taken by your use of the word prostitute to describe participation in a reality show. In my view, the word actor is still somewhat synonymous with whore, as it was several hundred years ago.

Few people seem to realize that ultimately the industry cannot change unless performers are willing to refrain from projects that don't serve them as artists or serve art itself. I do not feel any less dignified as a temporary receptionist than when I am working as an actor on meaningful projects. After all, we are willing to strike for money. Why are we not willing to do so for other aspects of the industry?

I hope to see more articles from Secret Agent Man in the future.

-- H.W.
New York

The tired cliché of the "business of show business" has really taken away a great deal of the fun of acting. I have great memories of absorbing Hollywood history when I started in the late 1970s. A friend of mine, Charles Pogue, who later became a fairly successful screenwriter, and I used to spend some of our off time exploring old Hollywood haunts, watching old movies, and hearing great stories from an old bartender at Formosa Cafe [in West Hollywood].

I personally feel that saturation in the industry served us far better than these casting-agent seminars ever could, provided me with some great memories, and it was a hell of a lot more fun. In other words, your column was good advice.

-- Patrick Skelton
Los Angeles

Premature Evaluation

In his March 5 column in the New York Post, Michael Riedel revealed an email exchange between himself and John Weidman, president of the Dramatists Guild of America. Weidman upbraided the theatre reporter for delivering his opinion of some of the songs performed at a “sneak peek” of the new musical Shrek. Weidman objected to Riedel reviewing an important element of a show that hadn’t even gone into rehearsal. Riedel responded that with Broadway tickets going on sale months in advance and prices soaring to $200–$450, it was appropriate for columnists “to give their impression of a show” well before its opening date. His point: If producers are going to charge such prices, the theatregoing public has a right to as much information as soon as possible. “These people are not making art. They’re in it for the money. Period,” Riedel concluded.

Regardless of their motives, the creators of a theatrical work are entitled to some leeway when their show has yet to play a public performance for a paying audience. Riedel’s criticism of Shrek’s score may be accurate, but the show is a work in development, and his premature assessment could damage its chances even if every song he heard is replaced before performances commence.

In this age of instant information and Internet chatter, it’s inevitable that nonprofessional opinions of previewing productions will proliferate. As soon as a show starts previews, numerous chat boards are filled with amateur reviews. One of those boards, All That Chat on TalkinBroadway.com, is attempting to curtail early reports by refusing to post opinions of dress rehearsals or gypsy run-throughs—performances not meant for the general public and where the invited audience consists mostly of theatre professionals.

Journalists should not be delivering their opinions on shows that have yet to give a public performance. As a reporter—not a critic—Riedel can certainly write about a show by quoting sources close to the production and monitoring the advance at the box office, but courtesy and fairness demand he withhold his own opinion until the show is before a paying audience.    

-- David Sheward

Monologues for Youngsters

A book of monologues that's equally concerned with helping young actors understand theory and develop characters, Private Stories is often right on the mark, but at times it's too simplistic and confused about its thesis. Though most of the information in the preface and the "Notes to the Actor" seems old hat, it's easily digestible and a good starting point for young actors with no clue how to begin.

An acting teacher and drama therapist, Elizabeth Bauman developed her "seven key questions" while working with a young actor who couldn't connect to his material. They include "Who are you?" "Where are you?" and "Why are you there?" -- all of them familiar to actors. The seventh -- "What clothing (costume) or props do you need?" -- demonstrates how basic some of this advice is. Following the introductory sections are 32 age-appropriate monologues for boys and girls. All are original pieces written by Bauman based on conversations with her students.

Bauman's tone can be kind and nurturing. Urging her readers to make interesting choices, she writes, "Remember, there is no right or wrong" -- helpful advice to a young actor concerned with looking foolish. Yet her tone can also turn gooey, such as when she notes that actors need a "supportive, safe, and nurturing environment in which to validate and express those emotions." Here's another: "It is a most magical journey."

The book is rife with grammatical errors and bad margins, and it's set in an off-puttingly large font that makes sense only when you consider the book's target readers. Then again, Bauman's audience is unclear: Is she writing for young actors, their teachers, or their parents? But her biggest gaffe comes after she lists her seven questions. She writes, "These are questions to help you. Use them only if you want to." Huh? Given the book's subtitle, it's surprising she's now making her questions optional. Is Bauman trying not to pressure young actors? One would hope she would stick to her guns.

'Private Stories: Monologues for Young Actors Ages 8 to 16 and the Seven Key Questions to Unlock Your Imagination', by Elizabeth Bauman, Limelight Editions, 2007, paperback, 152 pages, $10.95.

-- Scott Matthew Harris

Nickel and Dimed

Participant Media and Tapestry Films (Wedding Crashers) have teamed up for Minimum Wage, a comedy about an unscrupulous corporate executive sentenced to live on minimum wage in the town bankrupted by his company. Actors-turned-screenwriters Tegan West (NYPD Blue) and Scott Atkinson (Desperate Housewives) are penning the script. No casting director has been announced.

Georgia on My Mind

The Atlanta Queer Literary Festival International Playwriting Competition is accepting submissions for the Larry Corse Prize for Playwriting. The winner will receive $1,000 and production during the Atlanta Queer Literary Festival, to be held in October 2008. Plays should be gay-themed original works that have not previously been published or produced (with the exception of staged readings). Run time must be 60-120 minutes; small casts of three to six desired. Submission deadline is June 20, 2008; no entry fees. For more info, email Larry Corse at lcorse@bellsouth.net. www.larrycorse.com.

The Sound of Fear

BrokenSea Audio Productions is seeking audio script submissions for its Halloween writing competition. The winning script will be produced and released by BrokenSea. The contest theme is Van Helsing versus Dracula. Scripts should be in the style of the classic Hammer horror films. Entries must be no longer than 30 pages and should feature vampire hunter Van Helsing and Dracula as main characters. All scripts must contain the following elements: a church with a cracked bell, an artificial leg, and the dialogue line "It's never done that before." Email submissions to scripts@brokensea.com. Deadline is July 1, 2008; no entry fees. www.brokensea.com.

In the Land of Women

Women Helping Women, a Hollywood networking organization designed to help women navigate the entertainment industry, is accepting applications for new members. Writers, producers, directors, development executives, music executives, casting directors, agents, managers, attorneys, financiers, editors, and performers are eligible. Individuals must have at least two years' experience in the entertainment industry, or be film, TV, and/or music students. Membership consideration is open to anyone committed to advancing the careers of women in entertainment. Application deadline is March 31, 2008; $35 processing fee. If accepted, membership dues are $95 for individuals and $65 for students. www.hgenonline.com.

So Far, So Good

This just in from Team SAG-AFTRA: the co-committee members have emerged from their two-day plenary with proposals for the big joint board on Saturday. 

The unions have announced in a press release, "The joint SAG and AFTRA National Wages and Working Conditions Committees...[have] unanimously approved proposals for consideration by the joint AFTRA-SAG board of directors at its meeting this Saturday in Los Angeles. The Joint National Committee reviewed proposals submitted by Wages and Working Conditions Committees that have been meeting across the country since Jan. 30."

So, um, not huge news, but it seems SAG and AFTRA are playing nice. Whether they talked about non-contract issues like jurisdiction over basic-cable--as Doug Allen implied they might--remains to be seen. Still, if SAG and AFTRA are on the same page they could start talking with producers as early as Monday--a good thing, according to most Strike Watchers.

Speaking of  meetings, Variety reports Peter Chernin and Bob Iger are planning another sit-down with SAG, AFTRA, and AMPTP leaders.  Chernin and Iger played key parts in solidifying the DGA and WGA's deals, and if Dave McNary and Nikki Finke are to be believed, they've been meeting with SAG's Doug Allen, AFTRA's Kim Roberts Hedgepeth, and AMPTP's Nick Counter for a while.

It could be that everyone concerned is taking Ken Ziffern's advice to shut up and get down to business, away from the press' prying eyes.  Good call -- keep talking, guys.

--Lauren Horwitch

United Artists Celebrates (Almost) 90 Years

United Artists will celebrate its 90th birthday next year, and tomorrow night, New York's Film Forum begins its five-week tribute to the company. The repertory series runs March 28-May 1, featuring well-known fare like Raging Bull (on a new 35mm print), Manhattan, The Apartment, Midnight Cowboy, and Last Tango in Paris, as well as several westerns and James Bond flicks, plus silent classics from Douglas Fairbanks, Charlie Chaplin, Buster Keaton, and more.

United Artists began in the spring of 1919, when four of the most popular figures in American movies -- the director D. W. Griffith and the actors Charlie Chaplin, Douglas Fairbanks, and Mary Pickford -- joined to create their own distribution company.

Since the company released its first feature, Fairbanks' His Majesty, the American, it has survived changes, takeovers, and the loss of the rights to many of its films. United Artists is now jointly owned by Sony and MGM, which in November 2006 turned the company over to Tom Cruise and his producing partner, Paula Wagner.

But the company's continued struggle for survival should remind moviegoers what talented actors and other artists can accomplish together. Visit Film Forum's website for more info.

-- Daniel Lehman

When Did Critics Stop Actually Watching/Listening/Reading What They Review?

A movie review by Christopher Orr in today's The New Republic is not much of a review at all, at least not by conventional standards. Orr, apparently fed up with movie trailers giving away the entire movie months before it is screened in theatres, based his aptly named "(p)review" of this week's new release 21 solely on the film's trailer.

Orr actually explains what he's doing from the outset, so readers won't be misled by his (pretty hilarious and likely dead-on) review. From his introduction:

An irritating trend in the movie business is the increasing tendency of studios to lure folks to the multiplex with trailers that are essentially complete summaries of the films they're advertising: Here's the main guy and the problem he needs to resolve; here's the love interest, here's how they first meet, here's the rough patch they have to get through; here's the villain, here's the wisecracking best friend, here's the unexpected plot twist that's not going to be very unexpected now that we've featured it in the trailer--and there's the movie.

Orr then manages to write over 800 words about a movie he's never seen. He promises to post an updated review after actually seeing it, though. But watch the trailer (below), then read the review:

Orr's "review" in The New Republic follows last month's news that Maxim magazine published a speculative two-and-a-half-star review of the Black Crowes' new album, written by a critic who had apparently heard only its first single (advance CDs were not made available). The band  was, understandably, pissed off:

Black Crowes manager Pete Angelus said, "Maxim's actions seem to completely lack journalistic integrity and intentionally mislead their readership.   When confronted with the fact that they never heard the album they are claiming to 'review' in their music section--with a star rating, no less--they attempt to explain that it was an 'educated guess.'  In an email correspondence, Maxim went on to state: 'Of course, we always prefer to (sic) hearing music, but sometimes there are big albums that we don't want to ignore that aren't available to hear, which is what happened with the Crowes. It's either an educated guess preview or no coverage at all, so in this case we chose the former.' "

Angelus continued, "It speaks directly to the lack of the publication's credibility. In my opinion, it's a disgrace to the arts, journalism, critics, the publication itself and the public.  What's next--Maxim's concert reviews of shows they never attended, book reviews of books never read and film reviews of films never seen?"

Angelus also wrote an open letter to Maxim. Unfortunately, when music reviewers actually did listen to the entire album (Warpaint), most agreed with Maxim's initial average 2 1/2 star rating. That does not excuse the practice of reviewing works without experiencing them firsthand, however, and Maxim did not preface their article with the same sort of mission statement that Orr did.

But are these (p)review writers mavericks who are prodding the entertainment to push the envelope, rather than continue to rely on tired cliches and formulas? Or are they simply undermining the credibility, and the basic role, of arts critics in the first place?

I remember watching the trailer for Judd Apatow's The 40-Year-Old Virgin, and thinking that it looked like a forgettable one-joke comedy that starred Steve Carrell because they couldn't afford Jim Carrey or Adam Sandler. Who knew it would become a modern classic that would launch Carrell's successful film career and Apatow's comedy empire?

Sure, some bands, films, and artists can be disappointingly predictable. But critics are supposed to filter the good from the bad, and discern work based on merit, not reputation. (What happened to the days when film critics weren't even supposed to watch movie trailers, let alone review them?)

But what do you think? Is this a dangerous new trend, or a call for change? A revolution, or a devolution? Can you think of other music or films that have been exactly what you expected--or others that caught you completely by surprise?

-- Daniel Lehman

UPDATE: The New Republic's Christopher Orr has now seen the movie, and has written his review.  The only surprise? The film is actually much worse than he expected.

Commercial Appeal

The Commercial Theater Institute has announced the program schedule for its annual three-day intensive training program, "Producing for the Commercial Theatre," designed to help foster the next generation of commercial theatre producers and open to anyone interested in producing or co-producing or investing in commercial productions.

The line-up includes lectures and panel discussions on the facts and realities of getting a show on stage, networking opportunities, and industry professionals covering the business essentials of creative development, marketing management, legal issues, and more.

Participants include producers, general managers, theatre operators, press and literary agents, and theatrical attorneys from such shows as Wicked, Spring Awakening, Hairspray, The Producers, Avenue Q, Rent, and Chicago. The fee is $435. For more information or to register, visit www.commercialtheaterinstitute.com or call (212) 586-1109.

This American Ira Glass

For one night only in New York City, Ira Glass, radio producer and host of NPR's This American Life, will perform a program of storytelling by weaving together audio clips while sitting behind a desk. The show goes on April 6, at 3 p.m., at the Center for the Arts, 2800 Victory Blvd, Building 1P, Staten Island, NY. A Q&A session will follow the performance.

Glass began his career as an intern and has worked on nearly every NPR network news program. In March 2007, the television adaptation of This American Life premiered on Showtime and was nominated for three Emmy awards. Tickets cost $35; purchase by calling the Center for the Arts at (718) 982-ARTS (2787) or online at www.cfashows.com.

Happy Birthday Tennessee!

As part of its 30th anniversary season the Simon Studio, in association with the Drama Book Shop Cinema and Theatre Festival, will present a special free evening of works by Tennessee Williams celebrating the legendary playwright's 97th birthday on March 30, 3-6 p.m., at 347 W. 36 St., 13th floor.

The program includes staged excerpts from Cat on a Hot Tin Roof, The Rose Tattoo, The Glass Menagerie, Night of the Iguana, and A Street Car Named Desire, as well as from his lesser known works. The cast will feature special industry guest actors and past and current members of The Simon Studio. Reserve at (212) 841-0204. For more information, visit www.simonstudio.com.

CSA Appoints 2008 Board of Directors

The Casting Society of America (CSA) announced the appointment of its newly-elected Board of Directors last month.

"My hope is that I can be an integral part in facilitating the promotion of the outstanding achievements of our members," said Pam Dixon, CSA President. "It is my greatest desire, not only as President, but also as a working casting director, to gain the long overdue recognition for our untiring efforts."

To qualify as a CSA member, a casting director must have have two years of main title credit and be recommended for membership by two other members in good standing. Seven of the 14 board seats become vacant each year.  Members are free to nominate themselves or another member to fill those seats; an election is then held where the entire membership votes. With more than 375 members, CSA has representation in the U.S., Canada, England, and Australia.

The 2008 CSA Board of Directors includes:

Officers:    
Pam Dixon, President    
Howard Meltzer, Vice President    
Sharon Lieblein, Treasurer    
Rebecca Mangieri, Secretary

Board of Directors:
Laura Adler
Eyde Belasco    
Chemin Bernard    
Shawn Dawson    
Liz Dean    
Felicia Fasano    
Jeremy Gordon (Associate CD)    
Tara-Anne Johnson    
Lora Kennedy    
Gary Zuckerbrod    

New York:    
Bernie Telsey (Vice President), James Calleri, Amelia Rasche (Associate CD), Tara Rubin, and Cindy Tolan

-- Daniel Lehman

'Rent' Postpones Eviction

Bloomberg.com reported yesterday that the long-running Broadway musical Rent, which was set to close June 1, has been extended to Sept. 7.

"We've been gratified by the strong demand,'' Jeffrey Seller, one of the show's producers, said in an interview. Seller said the producers "realized that thousands of fans of the show are students in school. We decided to stay open long enough for them to make their plans to see Rent before it closes in September.''

Bloomberg reports:

Theatergoers who bought tickets for the final week of performances at the Nederlander Theatre on West 41st Street can exchange their tickets for a later date. Those who purchased tickets to the June 1 performance can exchange them for the new final show, provided they were bought before March 15.

The rock musical opened on Broadway in April 1996, after a run downtown at the New York Theatre Workshop. Since then, the show has grossed over $600 million on Broadway and in productions around the world, and won the Pulitzer Prize for Drama, the Tony Award for Best Musical, and the New York Drama Critics Circle award.

-- Daniel Lehman

L.A. Auditions at a Glance

Culled from the hundreds of casting and job notices listed daily on BackStage.com, below are this week's audition highlights for the West Coast, organized by the day the auditions are being held.

To find the full details for each of these projects -- including the audition times, locations, requirements, and alternate submission methods -- simply locate the project using the BackStage.com Casting & Jobs Search Engine, and then open the notice to view all of the info.

When searching, try any of the following: (1) Run a search for all the categories and countries you're interested in, and then sort the results based upon the date of the auditions by clicking on the triangular arrows found near the top of the "Audition Dates" column on every page of the search results; (2) Try an "exact phrase" Keyword search using one of the project titles/casting notice headlines listed below (hint: put the project title, audition headline, production company, or casting director name in "quotation marks" to get the best results); (3)  try an "exact phrase" Keyword searches using dates such as Nov. 28, Dec. 5, and so on, to discover other opportunities that have audition dates, performance dates, and deadlines for the date you specify. See the Casting FAQ for additional search hints.

LOS ANGELES AREA AUDITIONS

Wed., Mar. 26
Hot Model Extras (Union/Nonunion TV Video)
Life Insurance Industrial (Commercials & Industrials)
'Buddy,' Dancers (Union Chorus Calls)
LJP 2008 Season (Union/Nonunion Stage)
SMC, 'Poodles' (Nonunion Stage)
Ice House, Wednesday Open Mic (Comedy & Improv)
Nous Models & Actors (Modeling)

Thurs., Mar. 27
CSDH, 'Campus Security' (Student Films)
CSDH, Child Car Safety PSA (Student Films)
CSDH, Teen Depression PSA (Student Films)
Joico/Iso Photo Shoot (Modeling)

Fri., Mar. 28
'Project Runway' Season Five (Reality TV & Documentary)
Three Stunt Shows (Theme Parks)
IL, Alterna, Pureology, and Redken Shows (Outside CA - Modeling)

Sat., Mar. 29
'America's Next Top Model' (Reality TV)
'Oliver!' (Union/Nonunion Musicals)
'The Light in the Piazza' (Union/Nonunion Musicals)
'Intimate Apparel' (Nonunion Stage)
'It's Only Make Believe' (Nonunion Musicals)

Sun., Mar. 30
'Under Papa's Picture' (Nonunion Stage)
49ers Gold Rush Cheerleaders (Northern CA - Dancers & Choreographers)

Mon., Mar. 31
'Altar Boyz' (Union/Nonunion Musicals)
'Altar Boyz' (Nonunion Musicals)
'Anything Goes' (Nonunion Musicals)
'Best of Broadway" (Nonunion Musicals)
CD Workshop, Meg Morman (Groups & Workshops)
NV, Poet Theatricals (Outside CA - Cruise Lines)

Tues., Apr. 1
"Urban Death" (Nonunion Stage)
The Laugh Factory, Tuesday Open Mic (Comedy & Improv)
'Indiana Jones: Summer of Hidden Mysteries' (Theme Parks)
IL, 'Project Runway' Season Five (Outside CA - Reality TV & Documentary)
TX, "The Music Man" (Outside CA - Nonunion Musicals)

Wed., Apr. 2
'Playhouse Disney: Live on Stage!' (Theme Parks)

Thurs., Apr. 3
Joico/Iso Beauty Fashion/Hair Show (Northern CA - Modeling)
UT, 'So You Think You Can Dance' Season Four (Outside CA - Reality TV)

Fri., Apr. 4
Paul Mitchell Beauty Fashion/Hair Show (Northern CA - Modeling)
Schwarzkopf Beauty Fashion/Hair Show (Northern CA - Modeling)
NV, 'It's Only Make Believe' (Outside CA - Nonunion Musicals)

Sat., Apr. 5
"The Caine Mutiny Court Martial" (Nonunion Stage)
'The Music Man' (Nonunion Musicals)

Sun., Apr. 6
'Urban Viking: Los Angeles' (Nonunion TV/Video)
'Welcome to the Moon' (Union/Nonunion Stage)
'Metamorphoses' (Nonunion Stage)

Mon., Apr. 7
'Over There/Over Here' (Nonunion Stage)
'Kismet' (Nonunion Musicals)
'High School Musical 2: School's Out' (Theme Parks)
'Toy Story, the Musical' (Cruise Lines)
'Twelfth Night' and 'Hamlet' (Northern CA - Nonunion Stage)

Tues., Apr. 8
'Ruthless, the Musical' (Nonunion Musicals)
CO, 'The Music Man' (Outside CA - Union/Nonunion Musicals)

Wed., Apr. 9
'Bye Bye Birdie' (Union/Nonunion Musicals)
'Flower Drum Song,' Dancers (Northern CA - Union Chorus Calls)
'Flower Drum Song' (Northern CA - Union/Nonunion Musicals)

Film Review:"Chapter 27"

“I always knew I was going to do something really big,” a virtually unrecognizable Jared Leto says in Mark David Chapman’s scratchy Southern whisper. “I just didn’t know if it would be good or bad.” Based on the three days Chapman spent staking out the Dakota apartment building in New York to kill beloved purveyor of peace John Lennon, Chapter 27 likens itself to the nonexistent final chapter of J.D. Salinger’s 26-chapter The Catcher in the Rye—in which Chapman wrote, “This is my statement,” in explanation for murdering the former Beatle on Dec. 8, 1980. Ultimately, the film makes no more sense of a senseless crime.

No one can accuse Leto of having a lack of self-discipline or ambition. Tackling his most challenging role yet, after playing a skeletal junkie in 2000’s Requiem for a Dream and the eponymous real-life runner in 1997’s Prefontaine, Leto sinks his teeth into the notorious Chapman with his signature intensity. Leto, who also receives an executive-producer credit on the film, gained nearly 70 pounds for the role and wound up dealing with gout when he had to immediately lose the weight for another project. Unfortunately for Leto’s taste for vanity projects, the story is as thin as Chapman is fat. There’s just nothing extraordinary about the murderer the surviving Beatles still refer to as “the man whose name must never be mentioned,” whom Lennon’s widow, Yoko Ono, calls “the subject.”

As the film unfolds at a slovenly pace, Leto’s Chapman mouth-breathes through every frame and manages to simultaneously bore and creep out every person he comes in contact with, from doormen to fellow fans to cab drivers. Two such characters are played by Lindsay Lohan and Judah Friedlander. Here, Friedlander dons his standup-comedy armor to play the real-life photographer who tussles with and later snaps a picture of Chapman getting a record autographed by Lennon just before the assassination. Lohan is adequate as aptly named Jude, a fan so conveniently connected she’s pals with Lennon’s personal assistant, son, and nanny. One wonders if she was but a figment of Chapman’s obsessive and delusional imagination. There’s just not enough chemistry between Leto and Lohan to explain why Jude would accept Chapman’s one awkward lunch invitation.

The rare audience member seeking any shred of sympathy and understanding in Leto’s portrayal will leave the theatre angry and baffled at the existence of a film that puts an undeserved spotlight on one of the world’s most loathed criminals. Even 27 years later, it still seems too soon. Chapman is so boring he spends the time not engaged in stalking Lennon “disappearing into the ink” of Catcher by re-creating moments from its main character’s three-day escapade in Manhattan.

Leto does what he can with the role. It must be a challenge for an actor to find his motivation playing a “Nowhere Man” who had no fascinating or logical motivation for bringing such a violent end to a peaceful musician. The film is much like the crime: a big, sad waste.

-- Cassie Carpenter 

Listen to the Ziff

I spent a good portion of yesterday at the HRTS panel discussion Andrew blogged about earlier today. Though the heavy hitter panelists--including Fox President Kevin Reilly and The Office showrunner Greg Daniels--proffered some interesting ideas about the radically changing TV business, the possibility of a SAG strike didn't come up much.

When moderator, producer Jordan Levin, asked if anyone was worried about a possible SAG strike, the panelists kept their mouths shut and squirmed in their seats a bit. But attorney Ken Ziffren, who represented the DGA in their last negotiation AND is currently representing AFTRA, spoke up.

“If the parties involved in the negotiations stay in the room instead of going to the press, we'll get it done and we'll get it done well," he said to a great big round of applause from the audience comprised mostly of important-looking execs.

Obviously, press blackouts make for slower (and less fun) news days for reporters like me, but Ziffren had a good point. As their talks got more heated, then broke off, the WGA and AMPTP traded barbs every day in the press -- I'm still archiving daily press releases from both sides in my Inbox. Perhaps if both sides had kept it inside the boardroom and focused on solutions, the strike wouldn't have lasted as long -- or could have been averted altogether.

Ziffren's brethren on the panel may have kept mum about SAG and AFTRA on the stage, but at least two of them were pretty chatty about it backstage. Sandra Stern, COO of Lionsgate (producers of Mad Men, the new Crash pilot, and the untitled Ted L. Nancy pilot created by Jerry Seinfeld), said they're "praying" there won't be an actors' strike and are doing their best to prepare. But unlike a writers' strike, there's not much you can do to prepare for an actors' walk-out.

Stern said, "There’s just so much you can do.... You can’t bankroll on actors. We are getting started early on our production… but the truth is if there’s a strike July 1st, we will not finish our season. There’s not much we can do about that.”

Power agent and Endeavor partner Richard Weitz said his company is cutting expenses in anticipation. But, like the studios, there's not much agencies can do. “We’re on a wait and see basis. There’s very little that we can do unlike in the writers strike [when] writers had material," he said.

I'm in wait-and-see mode, too -- waiting to see what comes out of the big SAG-AFTRA joint board meeting on Saturday. I hope it's a date to begin negotiations with the AMPTP and a resolve to stick together in order to get the best possible deal for actors. If not, well, I hope they announce plans to buy me a pony. That'd be good, too.

--Lauren Horwitch

Broadway Cares Upcoming Events

Broadway Cares/Equity Fights AIDS has announced spring events including The 22nd annual Easter Bonnet Competition April 28-29 at the Minskoff Theatre and a special performance of Pamela's First Musical at Town Hall May 18.

The Easter Bonnet Competition features the companies of more than 20 Broadway, Off-Broadway and touring productions singing, dancing, and donning original Easter bonnets. The company that raises the largest amount of money for BC/EFA wins the competition. A second award will be given to the company with the best bonnet design and presentation, and additional awards will be granted to the Broadway play, national tour and Off-Broadway production raising the most money. The competition follows six weeks of fundraising that bring in hundreds of thousands of dollars.

Pamela's First Musical is a new one-act musical based on Wendy Wasserstein's 1996 children's book that tells the story of a young girl from the suburbs who spends a birthday with her aunt attending a Broadway production. The production features music by Cy Coleman, lyrics by David Zippel, book by Wasserstein and direction by Graciela Daniele. A reception at Sardi's will follow the performance, and proceeds will benefit BC/EFA and Theatre Development Fund's Open Doors Program, which Wasserstein founded.

Donna Murphy will lead the cast as Pamela's Aunt Louise. Other performers will be Lynn Ahrens, Christian Borle, Carolee Carmello, Sandy Duncan, Gregg Edelman, Christine Ebersole, Stephen Flaherty, Kathie Lee Gifford, Adam Heller, Richard Kind, Robert Klein, Tommy Tune and many others. Special guest David Garrison makes an appearance as Producer Bernie S. Gerry. The role of "Pamela" will be announced shortly.

Ticket prices for the Easter Bonnet Competition range from $20-$350. Ticket packages for Pamela's First Musical range from $60-$1,000. Tickets for both events may be purchased by calling BC/EFA at (212) 840-0770 x: 268 or online by visiting www.broadwaycares.org.

--Ronni Reich

NYC Auditions at a Glance

Culled from the hundreds of casting and job notices listed daily on BackStage.com, below are this week's audition highlights for the East Coast, organized by the day the auditions are being held.

To find the full details for each of these projects -- including the audition times, locations, requirements, and alternate submission methods -- simply locate the project using the BackStage.com Casting & Jobs Search Engine, and then open the notice to view all of the info.

When searching, try any of the following: (1) Run a search for all the categories and countries you're interested in, and then sort the results based upon the date of the auditions by clicking on the triangular arrows found near the top of the "Audition Dates" column on every page of the search results; (2) Try an "exact phrase" Keyword search using one of the project titles/casting notice headlines listed below (hint: put the project title, audition headline, production company, or casting director name in "quotation marks" to get the best results); (3)  try an "exact phrase" Keyword searches using dates such as Nov. 28, Dec. 5, and so on, to discover other opportunities that have audition dates, performance dates, and deadlines for the date you specify. See the Casting FAQ for additional search hints.

NEW YORK CITY AREA AUDITIONS

Thu. March 27
'Love Song'
'Angels,' B'way
Maine State Music Thr., ME
Untitled Gershwin Project, B'way
'Beauty & the Beast,' PA
'Brigadoon,' B'way, Dancers
'Little House on the Prairie,' MN
'How to Succeed in…,' WI
'The Color Purple,' Nat'l Tour
'Forbidden City West'
'Bending Towards the Light'
MA, Reagle Players Season

Fri. March 28
'All Good Things,' CT
'Other Side of Newark,' NJ
'Altar Boyz'
Maine State Music Thr., ME
Untitled Gershwin Project, B'way
'Angels,' B'way, Singers & Dancers
'Babes in Arms,' NH
'Brigadoon,' B'way, Singers
'Little House on the Prairie,' MN
'How to Succeed…,' WI, Dancers
Musicals at Richter Season, CT

Sat. March 29
'Lysistrata,' Greek Speakers
Musicals at Richter Season, CT
MA, Reagle Players Season
CA, 'It's Only Make Believe'

Sun. March 30
'Big Brother 10'
'At A Party'
'Forbidden City West'
Musicals at Richter Season, CT
PA, Koresh Dance Company

Mon. March 31
'Macbeth,' ME
'Prisoner of the Crown'
Barnstormers Thr. Season, NH
'Legally Blonde,' Nat'l Tour
Weathervane Rep, NH
'Angels,' B'way, Singers & Dancers
'Dirty Dancing,' Tour, Dancers
Forestburgh Playhouse Season
'Forbidden City West'
'Oliver!,' Nat'l Tour
Prather Ent. Season, PA, FL & AZ
Sterling Renaissance Festival
The Chase Brock Experience
NV, Poet Theatricals
'Toy Story'
DC, Kennedy Center Theater

Tue. April 1
'Carousel'
Forestburgh Playhouse, EPAs
'Legally Blonde,' Nat'l Tour
Weathervane Rep, NH
'Brigadoon,' PA
'High School Mus'l 2,' GA, Dance
Untitlted Gershwin, B'way, Singers
'Altar Boyz'
'Carousel'
'Brigadoon,' PA
'Oliver!,' Nat'l Tour
Prather Ent. Season, PA, FL & AZ
'Wizard of Oz,' Tour, Ensemble
'West Side Story'
Singers Search/Open Mike
Mars 2112

Wed. April 2
'Brigadoon,' PA
Forestburgh Playhouse, EPAs
Untitlted Gershwin, B'way, Singers
Weathervane Rep, NH
'Shakespeare Marathon'
Prather Ent. Season, PA, FL & AZ
'Wizard of Oz,' Tour, Ensemble
FL, Poet Theatricals
'High School Musical'
Mars 2112
Toronto, 'Toy Story: The Musical'

Thu. April 3
Mars 2112
Toronto, 'Toy Story: The Musical'

Fri. April 4
'Voices of Swords'
'Eastburn Avenue,' PA
'Pure Country,' Dancers
'A Body of Water'
Mars 2112
NV, 'It's Only Make Believe'

Ian McKellen Blogs (er...E-Posts?)

Sir Ian McKellen responds today to some Lord of the Rings-themed questions in an E-Post (?) on his "official" website. Besides offering gracious responses to fan praise and refuting rumors that Viggo Mortensen and Orlando Bloom were a couple on set ("This gossip is all news to me. Elijah, Dominic and Orlando introduced me to their girlfriends during shooting... Probably the fevered imagination of slashers is to blame."), McKellen says that he intends to return to the Middle Earth as the wizard Gandalf if the opportunity arises:

"Yes I will, if Peter Jackson and I have anything to do with it, he being the producer and me being, on the whole, a very lucky actor.

I have to question the validity of the responses, and the website in general. Could this really be McKellen furiously typing his answers? Particularly baffling are candid and detailed responses about preparing for and shooting the film trilogy (McKellen loves to name-drop, apparently) and the reported tension between director/producer Peter Jackson and New Line Cinema's Bob Shaye:

"To me, business is personal; so it can be depressing when working colleagues have ambitions others than my own, e.g. financial rather than artistic, let's say.  I suspect that some of the troubles between New Line and Peter Jackson reflected the suspicion, not to say jealousy, of old Hollywood toward a newly flourishing film centre, like the one Peter has built up in New Zealand.

"Bob Shaye (Co-Chairman) and Michael Lynne (COO), formerly at New Line, have always been friendly and supportive to me in person, though I did feel the need to tweak the latter's nose once, when he seemed to be trying to diddle the cast of LOTR out of their well-earned share of the profits."

But judge for yourself. Read the full E-Post Q&A here, read more E-Posts, check out McKellen's on-set diaries here and here, or visit (the somewhat amateurish and maybe not totally legit) www.mckellen.com.

-- Daniel Lehman

UPDATE: Now it seems like several other news outlets have jumped on this story, treating McKellen's email exchange with his fans as the new gospel of the future of The Hobbit.  Check out the stories on NY Mag's Vulture blog and the UK's The Guardian. Could it all be true after all?

L.A. Mayor Comes Late to Early-Talk Push

Though he is coming late to the party, add Los Angeles Mayor Antonio Villaraigosa to the list of those who believe actors and producers should sit down at the table as soon as possible.

"I urge all involved to get the deals done expeditiously," Villaraigosa said in a news release Tuesday. "We must keep this town working and avoid devastating effects on the workers, businesses, residents, and economy of this great city."

Throughout the month of February, the American Federation of Television and Radio Artists, the New York board of the Screen Actors Guild, and the Alliance of Motion Picture and Television Producers called for talks to start as soon as possible.  AFTRA issued a statement yesterday that read, "AFTRA has long favored starting negotiations for the primetime TV contract as soon as possible, and we appreciate the mayor's support."

Read an AMPTP statement, in part: "We have always wanted to begin negotiations as soon as possible."

SAG president Alan Rosenberg and national executive director Doug Allen have been taking a more methodical approach, though the guild and AFTRA are having a second day of meetings today to hammer out a joint proposal to present to producers when talks commence, perhaps sometime next week.

One SAG insider who is not attending the joint meetings told Strike Watch that these proceedings are "pro forma." Although the two unions nearly ended their longtime joint negotiating agreement, known as Phase One, earlier this year, things appear to be calm. "I can't speak for AFTRA," said the source, who requested anonymity, "but there's a strong commitment on SAG's side to go through this negotiation under Phase One as it was originally written."

However, the source continued, there is strong pressure from "some quarters within SAG" (read: Rosenberg, Allen, and the L.A.-based party Membership First, which dominates the guild's Hollywood board) to have a "substantive conversation" about restructuring Phase One as soon as the unions get a new film and primetime TV contract, which expires June 30. Areas that guild members in L.A. would want to see changed involve contracts for work in basic cable and the voting process during negotiations.

"Whether that can be resolved before the commercial negotiation"--the contract with advertisers and advertising agencies expires at the end of October-"is highly doubtful," the insider said.

One union that has no problem of negotiating early, apparently, is the International Alliance of Theatrical Stage Employees. The below-the-line labor group, according to Daily Variety, will begin three days of talks with producers April 7 and hopes to have a deal by April 9, about 16 months before IATSE's current contract is set to expire.

There is concern throughout Hollywood that actors will strike, even though the town already took a substantial hit during the 100-day writers strike, which ended in mid-February and cost the L.A. economy about $880 million, according to FilmL.A., a nonprofit company that coordinates production. As a result, the economics and machinations of the television business have changed substantially, if not permanently, according to industry representatives who spoke Tuesday at the Hollywood Radio & Television Society's Newsmaker Luncheon. One area likely to be affected is the development-deal process.

"The pure development deals where someone is paid $1 million to write a pilot or two are, for the most part, over," said Richard Weitz, partner and head of the TV packaging department at the talent agency Endeavor.

--Andrew Salomon

'South Park' Online

Following on the heels of