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2016 Emmy Contenders: Outstanding Guest Actress in a Drama Series

2016 Emmy Contenders: Outstanding Guest Actress in a Drama Series
Last year, Margo Martindale triumphed in this category with her turn on “The Americans,” a show that has been woefully underrepresented at the Emmys. While she could repeat this year, she will have to battle some fierce competitors in the form of previous winners.

Both Allison Janney [“Masters of Sex”] and Carrie Preston [“The Good Wife”] have won for their roles before. And several potential nominees are previous winners. Diana Rigg was previously nominated here for her work on “Game of Thrones”; she scored a win in 1997 for “Rebecca.” Ellen Burstyn [“House of Cards”] is an Emmy winner in this category for “Law & Order: Svu,” and has seven noms and two wins total. [Don’t forget Burstyn is beloved; she was famously nominated for her work in “Mrs. Harris,” which consisted of fewer than 20 seconds of screen time.] Laurie Metcalf has three Emmys from “Roseanne,” but her work as the ex-wife of Louis C.K. in “Horace and Pete” is unlike anything we’ve seen her in before. Stockard Channing has won two Emmys, both in 2002, and could score a third for the final season of “The Good Wife.
See full article at Variety - TV News »

'Frequency' TV Show Is Happening with 'Supernatural' Producer

'Frequency' TV Show Is Happening with 'Supernatural' Producer
Another old movie is getting the TV reboot treatment. NBC plans to turn the 2000 time travel thriller Frequency into a weekly series, with Supernatural writer, producer and show runner Jeremy Carver creating this new take on the material.

NBC has issued a script-plus-penalty commitment for what is being described as a character driven drama. Jeremy Carver will write the pilot episode, which is set to focus on a NYPD detective who connects with his son 30 years into the future. Father and son will work together to change history and stop several tragic events from coming to pass. In the meantime, they will find time to heal their own fractured relationship.

Toby Emmerich wrote the original feature film, which took place in 1999, and followed a homicide detective (James Caviezel) who makes contact with his late father (Dennis Quaid) 30 years in the past, on the day of his death. The two work
See full article at MovieWeb »

Can Injured Actors Be Fired?

“I was not allowed back,” actor Melissa Errico wrote on her personal blog in May. In her post, she described her shock on hearing that Classic Stage Company terminated her contract for its production of “Passion” after her prolonged absence from the show due to vocal illness. While Errico never believed her job was in jeopardy, it turns out that the producers at Csc were well within their rights to release Errico in her uncertain condition. Why didn’t a Broadway veteran know what was in her standard Equity contract? Errico declined to comment to Backstage. Among the myriad contracts under which Equity members work—available on Actors’ Equity’s website—the most common are Production (Broadway), Off-Broadway, and Lort (League of Resident Theatres). Each of these contracts includes a specific clause addressing illness and injury. According to Tom Carpenter, Eastern regional director general counsel for Actors’ Equity, “Hypothetically, for
See full article at Backstage »

Sarah Jessica Parker and Matthew Broderick attended American Museum of Natural History

HollywoodNews.com: Sarah Jessica Parker and Matthew Broderick learned a lot about dinosaurs last night. So did about 200 people who came to the American Museum of Natural History to support Mike Nichols and Cynthia O’Neal‘s 20 year old charity, Friends in Deed. Legendary composer Stephen Sondheim created a treasure hunt game with the museum folks, and he was there to watch as all of us scurried through the various dino halls to figure out answers to things like “parrot beak” and “giant sloth.” Once you found the appropriate fossil and filled in the blanks of its name on clue cards, the answers were then drafted down to a single sentence.

Team Number 8–with writer Patti Bosworth, Broadway legend Phyllis Newman, and man about town Joe Armstrong–kept colliding with Team 4– Sjp, Broadway star John Benjamin Hickey, and Bravo’s Andy Cohen. Phyllis Newman, luckily, goes back a long way
See full article at Hollywoodnews.com »

'Ragtime,' 'Scottsboro' Lead Drama Desk Noms

"Ragtime" and "The Scottsboro Boys" came up big as the nominees for the 55th annual Drama Desk Awards were announced today. The short-lived Broadway revival of the Terrence McNally musical and the new Off-Broadway tuner each received nine nominations, more than any other production.The nominees were announced by actors Brian Stokes Mitchell and Cady Huffman at the Friars Club in New York. It was also announced that Drama Desk members have voted this year to present special ensemble awards to the casts of "Circle Mirror Transformation" and "The Temperamentals." The awards will be presented May 23 in a ceremony hosted by Patti LuPone at the Laguardia Concert Hall at Lincoln Center.The complete list of nominees is below.Outstanding play:Alan Ayckbourn, "My Wonderful Day"Annie Baker, "Circle Mirror Transformation"Lucinda Coxon, "Happy Now?"John Logan, "Red"Geoffrey Nauffts, "Next Fall"Bruce Norris, "Clybourne Park"Outstanding musical:"American Idiot""Everyday
See full article at Backstage »

Zucker tapped for Cabrini honor

NEW YORK -- The Cabrini Foundation will honor NBC entertainment president Jeff Zucker and CompUSA CEO Hal Compton with the Spirit of Cabrini Award at its annual gala Nov. 6 in New York. The group cited Zucker's work with the Damon Runyon Cancer Research Foundation, National Children's Alliance and the Help Group. Charles Grodin will emcee the event, and Melissa Errico will perform. The 5-year-old foundation supports institutions and programs around the world focused on women, children, immigrants and the elderly.

Film review: 'Frequency'

Film review: 'Frequency'
Too much of a Baby Boomer sci-fi fantasy of the Rod Serling variety to lure post-"Matrix" younger audiences in astronomical numbers, New Line Cinema's strong April 28 wide release "Frequency" is nonetheless a crowd-pleaser with a fairly fresh premise--what if a Mets-loving father and his son thirty years in the future could communicate, save each other from harm and change history?

Director Greogory Hoblit ("Primal Fear", "Fallen") is partly if not mostly successful with this deadly serious cinematic channeling of a wildly improbable scenario, written by newcomer Toby Emmerich, who has been president of New Line's music division for five years. The excellent production values and tuned in cast are key elements in exploiting the inventive payoffs. One goosebump-raising example is an ecstatic cop played by Andre Braugher (NBC's "Homicide: Life on the Streets"), silently becoming a believer as he watches with fore-knowledge a key moment in an historic baseball game.

Leads Dennis Quaid and Jim Caviezel ("The Thin Red Line") ham it up, but in a good way, as fireman father Frank and cop son John Sullivan, who through time-jumbling magnetic storms caused by the sun reach out to each other across the decades via the same ham radio. The film's biggest obstacle for some viewers is ostensibly its biggest selling point to genre fans, a convoluted plot that several times resorts to spacy montages as a way to help the fantastical premise move along.

Otherwise, there's no real romance, a bit of baseball and, yep, a serial killer. The front-end story of Frank takes place in October 1969, with the aurora borealis lighting up East Coast skies at night in beautiful, slowly shifting curtains of light and the Amazing Mets headed into the World Series against the Baltimore Orioles. The Mets still win in five games, but a lot of other headlines are messed around with in one of those puzzling science fiction conundrums that has the past and future co-existing on different planes and in weird ways medling together.

The movie seesaws between the two worlds after we're introduced to both, starting with upright, honest, solid-as-a-rock Frank (Quaid) in '69, who is loved dearly by his wife Julia Elizabeth Mitchell) and worship by young son Johnny (Daniel Henson). Best friends include Frank's fellow public servant Satch (Braugher), a police detective, and Johnny's neighbor Gordo (Stephen Joffe). All appears hunky-dory as the northern lights mystify and Frank's heroic tendencies seem to go along with a charmed life.

Drifiting off into cosmological areas best dealt with tangentially, we suddenly find ourselves with grown-up Johnny, now just John (Caviezel), still living in the family house thrity years later. He's also still friends with Gordo (Noah Emmerich), who remembers John's dad and his love of ham radios. You see, Frank died in a fire before the end of the Series, and John's life has not turned out too hot. Indeed, we're introduced to the near rock-bottom John when his mate (Melissa Errico) is leaving him.

Once contact has been made and both Sullivans believe they are communicating across time, John tells Frank about his impending death and history is changed. But in a nifty device whereby family photos and scrapbooks in the John's time keep changing, every action has a consequence. Frank still dies before his time from lung cancer, so John gets him to quit smoking. But when John starts fearing for his mother--after a random visit by Frank to the hospital where Julia works results in a killer (Shawn Doyle) surving poor doctoring--the movie morphs into a thriller/detective story.

As such, it can get mighty entertaining but eventually hinges on a violent resolution that lacks the desired punch. But the long running time is put mostly to good use. Many unanswered questions remain, but there's no mystery to the timeless contributions of cinematographer Alar Kivilo, production designer Paul Eads, editor David Rosenbloom and costume designer Elisabetta Beraldo in making the widescreen production a visual home run.

FREQUENCY

New Line Cinema

Director--Gregory Hoblit

Screenwriter--Toby Emmerich

Producers--Hawk Koch, Gregory Hoblit, Bill Carraro, Toby Emmerich

Executive producers--Robert Shaye, Richard Saperstein

Director of photography--Alar Kivilo

Production designer--Paul Eads

Editor--David Rosenbloom

Costume designer--Elisabetta Beraldo

Music--Michael Kamen

Casting--Amanda Mackey Johnson, Cathy Sandrich

Color/stereo

Cast:

Frank--Dennis Quaid

John Sullivan--Jim Caviezel

Jack Shepard--Shawn Doyle

Julia Sullivan--Elizabeth Mitchell

Satch DeLeon--Andre Braugher

Gordo Hersch--Noah Emmerich

Samantha Thomas--Melissa Errico

Running time -- 115 minutes

MPAA Rating: PG-13

Film review: 'Loose Women'

Film review: 'Loose Women'
FORT LAUDERDALE, Fla. -- "Loose Women" is a testament to the importance of connections and is more indicative of the filmmaker's powers of persuasion rather than any particular ability behind the camera. This extremely low-budget item boasts cameo appearances by such actors as Charlie Sheen, Stephan Lang, Giancarlo Esposito and Keith David, and among the contributors to the soundtrack is Mark Bryan from Hootie & the Blowfish. But the film, which recently received its world premiere at the Fort Lauderdale International Film Festival, is not likely to show up on any of their resumes.

The debut feature of director Paul F. Bernard (the production notes describe his filmmaking experience as "practical and vast"), the cannily but inaccurately titled "Loose Women" is a comedy-drama about three female roommates in New York's East Village. Rachel (Sherry Ham, who also wrote the screenplay), a struggling actress, is depressed over the lack of momentum in her career and the fact that she's about to turn 30. Her mood is not helped when her aspiring-actress friend, Tracy (Marialisa Costanzo), breezes into town and lands a soap opera job on her very first day of looking. The third member of the trio is Gail (Melissa Errico), a seemingly stable schoolteacher with a secret life as a prostitute.

When Gail is arrested and subsequently institutionalized by her repressive mother and sister, Rachel, with the aid of a friendly cop (Tom Verica), sets out like a self-described Nancy Drew to rescue her friend from her family's evil clutches.

The film, which began as a breezy and semi-amusing contemporary comedy, becomes an unconvincing angst-ridden melodrama, not helped by unintentionally funny dialogue and stiff acting from most of the principals. Errico, currently a theatrical darling in New York thanks to her acclaimed work in such revivals as "My Fair Lady" and "One Touch of Venus", comes off best, and Corey Glover (late of the band Living Colour) has some nice moments as an overeager suitor.

The cameos are mostly embarrassing. Lang hams it up unmercifully as a rambunctious drunk, Esposito and David play a pair of effeminate hairdressers in a style that's something out of "In Living Color", and Sheen delivers a tedious, over-the-top monologue about Barbie dolls that's clearly an imitation of Quentin Tarantino's much better verbal riffing in "Sleep With Me".

The film's technical credits are also less than stellar, with muffled sound and choppy editing only part of the problem.

LOOSE WOMEN

An Inmotion Entertainment presentation

Director-producer:Paul F. Bernard

Executive producers:J.D. Matonti, James Scura

Producer:Chris Mantonti

Screenplay:Sherry Ham

Director of photography:Peter Reneris

Editor:Marie Pierre Renaud

Music:Pat Irwin

Color

Cast:

Rachel:Sherry Ham

Gail:Melissa Errico

Tracy:Marialisa Costanzo

Chris:Tom Verica

Jack:Corey Glover

Ann:Amy Alexandra Lloyd

Running time -- 90 minutes

No MPAA rating

See also

Credited With | External Sites