Lindsay Lohan out of jail, rehab bound for meth addiction and bi-polar

Everyone’s favorite part-time lesbian, Lindsay Lohan, has been released from jail and will serve the next month or so in rehab.

Lohan served 13 days of a 90 day sentence at Lynwood jail in California stemming from a DUI arrest several years ago.  From here, Lindsay will serve a court ordered stint in rehab.

The judge got to pick Lindsay’s rehah destination, and Marsha Revel sent the “Mean Girls” actress to Morningside Recovery Center at UCLA.

“The judge’s order will dictate the manner in which she will be released and to whom, and I have not seen that,” attorney Shawn Chapman Holley said earlier Sunday after paying Lohan a visit in jail. “She is doing fine…She is ready.”

Lindsay evidently has a problem with Crystal Meth (an addiction more typical to men that part-time lesbians) and suffers from bi-polar disorder.

Theatre Review: “A Little Night Music”

by Jonathan Warman

The reason to re-review A Little Night Music is obviously the replacement of Hollywood royalty Catherine Zeta-Jones (far better in the show itself than her nervous Tony performance) with Broadway royalty Bernadette Peters. Bernadette has taken over the role of glamorous Swedish actress Desirée Armfeldt, who is renewing a romantic entanglement with lawyer Fredrik Egerman (Alexander Hanson) after many years apart. This is easily my favorite Peters performance of all time. Her ease and wry comic timing bring a delicious sparkle and flash, not just to the role, but the show as a whole.

The casting of Elaine Stritch as Madame Armfeldt, Desirée’s former courtesan of a mother, is more tricky. There’s nothing European, let alone Scandanavian, about Stritch’s Madame; she’s an American-style “broad” pure and simple. That aside, she does give us a performance that’s consistently entertaining, and does something interesting (if not always appropriate) with every moment of Madame’s big song “Liaisons.” Still, age and experience singing Sondheim aside, Strich is fundamentally odd in the role.

This musical, set in the very earliest years of 20th century Sweden, is as optimistically romantic as Stephen Sondheim ever got. Even here there are generous helpings of his wry cynicism, but never enough to truly darken the sweetly swooning mood. Director Trevor Nunn has taken Sondheim and book writer Hugh Wheeler at their words, going directly for the sharp humor and heartache that are right there on the surface. Nunn has given Night Music a warmly emotional reading that I find seductive.

Most of the original Broadway cast remains, and my favorite perfomance in the show is still Erin Davie as the tart-tongued Countess Charlotte. Already hilariously high-strung and eccentric when I saw her before, she’s added a peculiar warmth that makes the Countess even more compelling. Night Music is probably the Sondheim show I like the most throughout, and it’s a real pleasure to see this solid and good-humored production continuing to prosper on Broadway.

For tickets, click here.

For more reviews and interviews by Jonathan Warman, see

Welcome to the all new Online Magazine

by Charles Winters

Welcome to the all new Online Magazine!

Over the past few months we have added some amazing new staffers and adopted a new magazine style of writing rather than blogging  our opinions on everything.

Now, we’re excited to roll out or new magazine format.  Over the next few weeks, we’ll be working through the kinks and making important changes (such as adding our logo to the header).

If you’re looking for the blog archives, you can still find them here:

Theatre Review: “The Grand Manner”

by Jonathan Warman

The phrase “love letter to the theatre” gets bandied around a lot in reviews of backstage dramas. So let’s be more specific about The Grand Manner. The play is based on a brief encounter that playwright A. R. Gurney had with great American actress Katherine Cornell in 1948, when she was playing Cleopatra on Broadway in Shakespeare’s Antony and Cleopatra. At the top of the show, Gurney shows the backstage program-signing moment as it actually happened: briskly, casually, with a few pearls of wisdom from the great actress, but nothing terribly dramatic, and taking no more than 5 minutes.

Gurney then starts over again, imagining a more extended meeting with Cornell, her manager (and sometime lesbian lover) Gertrude Macy, and her director/husband Guthrie McClintic (every bit as gay as Katherine was lesbian). This reimagining – a very satisfying set of point-counterpoint character studies – makes up the balance of the evening.

Gurney has done his research on his boyhood idol, and has richly imagined an actress of a certain age who keenly feels time and changing tastes passing her by, who wonders aloud whether she’s even right for the role of Cleopatra. Its these anxieties that provides the dramatic tension of the play; to a woman for whom acting is everything, these stakes are as high as can be.

Kate Burton is magificent as Cornell, conveying with great charm and sensitivity Katherine’s essential optimism, shaded by a sophisticated understanding of her own limitations. Seriously hard-working actor (and cutie pie) Bobby Steggart delicately underplays Pete (a fictionalized version of Gurney himself), who might just be more canny – and less shockable – than his more worldy elders initially think. Brenda Wehle is similarly (and appropriately) understated as the intellectual and unavoidably butch Gertude. And Boyd Gaines gets perhaps the most truly “grand” role as the flamboyant but still quite masculine McClintic, and he plays it to the hilt.

If The Grand Manner has a notable flaw, it would be that it’s a bit “insider-y” – the issues of the play matter greatly to people in the theatre, but may not even make sense to people outside of it. The play’s target audience: gay theatre people with a taste for history. Needless to say, I adored it!

For tickets, click here.

For more reviews and interviews by Jonathan Warman, see

Win Lady Gaga tickets Saturday at Rush in NYC invites you to Drama Saturdays where this week, you’ll get a chance to win Lady GaGa tickets!

Come early for 2-4-1 drinks and extra chances to win!  Pop music by DJ Steve Sidewalk.  $10 before midnight with invite above.

Rush is located at 579 Sixth Avenue (between 29th and 30th) in New York City.


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