Jack Tantleff, Peter Franklin and all the other William Morris agents called it a “no agenda” party.
The tenpercentery’s Monday gathering at Providence celebrated the current Broadway season, and the inclusive spirit even brought out some nonclients like “Dirty Rotten Scoundrels” director Jack O’Brien and “Avenue Q’s” Jason Moore and Jeff Marx, who weathered the blizzard to get there.
Anxious WMA-repped creatives with shows ready to open included David Yazbek and David Rockwell (“Dirty Rotten Scoundrels”) and Lynn Ahrens and Stephen Flaherty (“Dessa Rose”). Thomas Meehan had his own opening of sorts: Over in Queens, “The Producers” put in its first day of shooting. How were Nathan Lane and Matthew Broderick? Not there, reported Meehan: “They filmed Will Ferrell as Franz Liebkind on the roof with the pigeons.” Some of the birds were real, some mechanical, he revealed.
Despite the storm, a few celebs also turned out Monday for the Vineyard’s preem of “After Ashley.” Matt Damon and Joan Allen, friends of director Terry Kinney, took in Gina Gionfriddo‘s new play starring Kieran Culkin and Anna Paquin. Since it was a day after the Oscars, the actress, who took home a statuette 12 years ago at the ripe old age of 11, had to field the obvious question. “Sure, I’m like everybody else. I tune in,” said Paquin. “I like to check out the dresses and look at the hair.” Not that she’s putting the Oscars down. “It gave me my career.”
It was his movie “Edmond,” not Tuesday’s snow, that prevented David Mamet from attending the world premiere of his play “Romance” at the Atlantic Theater. With this one, the writer does for gay men what he did for lesbians with “Boston Marriage.” Since Mamet was missing, it fell to helmer Neil Pepe to answer this burning question: Who does it better, gay men writing about straights or straight men writing about gays? At the Lotus party, Pepe played the diplomat. “There are certainly more gay men writing comedically about straight people than the other way around,” he replied.
On “Romance,” headliner Bob Balaban had his own take. “The play is so offensive, and so good-natured,” he said, “you can’t be offended.”