Sheryl's barn adorned for the private Chistmas Party she did Monday 21. Among the guests there were Miranda Lambert, Sugarland, Big and Rich, Little Big Town and Mike Wolfe from "American Pickers" TV show. (Photos courtesy of Stephanie Moss).
[LIVE PIC] Sheryl & Gwyneth
I've just found this old pic of Sheryl and Gwyneth Paltrow performing in Dallas during the "Jeep World Outside Festival" Tour. it was taken at the Smirnoff Music Centre on July 18th, 2002. As many of you know, Ms. Paltrow provided backing vocals for "It's Only Love", a "C'mon, C'mon" song originally written for Stevie Nicks, and recorded by the latter for her "Trouble in Shangri-La" album (2001). Also notice the cool stars'n'bars pants made famous by the music video of "Steve McQueen".
[NEWS] Sheryl to be featured in a Kid Rock documentary
Our lovely Sheryl will be featured on "The Kid From Detroit", a Kid Rock documentary set to release worldwide in early 2016.
"The Kid From Detroit" is part of a new series named "ICONS in their own words with Daphne Barak", one-hour long documentaries consisting of rare and original content, involving Hollywood A-listers, head-of-states, and other prominent figures.
The series is produced by Erbil Gunasti and the prolific international interviewer Daphne Barak.
(In the pic above: Erbil Gunasti with Sheryl at her home)
[VIDS] "A Hard Day's Night" . "Happy Xmas" & "Don't Let Me Down" - AMC's "Imagine: John Lennon 75th Birthday Concert - 720p - Broadcast Quality)
[NEWS] ‘Diner’ breaks ticket sales record at DTC
“Diner,” the Sheryl Crow-Barry Levinson musical playing at Delaware Theater Company has broken the theater’s ticket sales record, and still has two weeks to go.
The show sold 8,500 tickets for $313,000 by Wednesday afternoon, the highest ever in the theater’s 37 year record. It ends Jan. 3.
"Diner" bests “Because of Winn Dixie,” which played last spring and sold 8,300 tickets for $277,000. That show is by Duncan Sheik and Nell Benjamin.
Both shows hope to go on to New York.
“Diner” is based on Levinson’s 1982 film of the same name. It follows a group of twenty-something men trying to figure out life, love and women. The musical also follows the women in their lives, which the movie didn’t.
“My team and I set out, this season, to create the most artistically ambitious season in the history of the Delaware Theatre Company,” Executive Director Bud Martin said in a press release. “Audiences seem to agree – as we’ve broken the record twice in just four short months.”
"Performances like these reaffirm the importance of our state's commitment to valuing the arts," Gov. Jack Markell said in the press release.
Wilmington Mayor Dennis Williams said the theater has drawn visitors from D.C. to New York. “It also highlights our city as an emerging presence within the arts and culture community throughout the region," he said.
Tickets range in price from $35-$65 and can be purchased online at www.DelawareTheatre.org or at (302) 594-1100
Sheryl was the special guest at last night's fundraising intimate show benefiting the J/P Haitian Relief Organization. The event, hosted by The Warren Brothers, took place at the Nashville's famed Bluebird Cafe.
[INTERVIEW] "It's Been an Extreme Learning Curve," Says Sheryl Crow About the Long Road to Diner's Stage Bow
By Carey Purcell
08 Dec 2015
Sheryl Crow has joined the ranks of musical theatre composers with the new musical Diner. As the musical takes shape in its latest out-of-town tryout, we catch up with the busy Grammy winner to learn what's new, what's changed and what she's learned.
With more than 20 years, 32 Grammy nominations and nine Grammy wins under her belt, one would think Sheryl Crow knew everything there was to know about writing music. But even the singer-songwriter, who has sold more than 50 million albums worldwide, found she was in for some new experiences when she began writing her first musical.
Crow, whose albums include "The Globe Sessions," "C'mon, C'mon" and "Detours," is making her musical theatre songwriting debut with Diner. The comedy-drama, written and directed by Barry Levinson, is a favorite of Crow's, and she was eager to write for the stage, having grown up watching the "song and dance movies" "My Fair Lady," "West Side Story" and "Oklahoma!" But despite her love for the genre, she did not perform in any of her school productions. Instead, she played the piano, adding, "I was definitely the least likely to become a star in my high school."
It's an ironic statement. Crow has not only become a massively successful recording artist, but she has also appeared on the television shows "30 Rock," "GCB," "Cougar Town" and "One Tree Hill," and just some of her collaborators include the Rolling Stones, Eric Clapton, Willie Nelson and Sting.
Her experience with the music industry led her to think that Diner's journey to the stage would follow a similar trajectory — an assumption she quickly learned was incorrect.
"It's been, for me, a real extreme learning curve," she said. "The theatre world is completely different than any music world I've been in up to this point."
Diner received its first reading in 2011, and a 2012 San Francisco production had been discussed but did not take place. The musical had been scheduled to open on Broadway April 10, 2013, but the production was delayed. It received its world premiere at Virginia's Signature Theatre in December 2014, playing a sold-out run through January 2015. Directed by Tony Award winner Kathleen Marshall (Anything Goes, The Pajama Game), the production is currently in previews at Delaware Theatre Company and will open Dec. 12.
The musical's journey — and the length of it — was a surprise to Crow, who recalled asking the producers, "'How long do you think before… what's typical?' They said, 'It can be anywhere from two to five years before it's up and going,' and I thought, 'Oh, no. That's not possible. Six months, and it'll be up in a year.'"
Comparing the theatrical production schedule to that of the music industry, Crow said, "It's not like making a record and you make the record, the record's done, you do a little artwork, you do a little press, you go out on the road… The sequence is very logical. That doesn't exist in the theatrical world. We did end up going out of town and honing the play, going Off-Broadway. It's really hard to know what to expect. You're constantly going on the hope that you're going to get all the way to Broadway."
The logistics and timing of Diner were surprising to Crow, but it certainly wasn't the first unexpected moment of her time with the musical. She admitted to being puzzled when Levinson approached her with the idea of adapting it for the stage.
The 1982 film, set during the last week of 1959, follows the reunion of a group of friends who have returned to their hometown to attend a wedding. The film featured Steve Guttenberg, Mickey Rourke, Kevin Bacon and Ellen Barkin, garnered Levinson an Academy Award nomination for Best Original Screenplay and went on to become a cult classic. Crow, who was a fan long before Levinson approached her about the musical, said, "When it came out, you didn't know any of those actors. Since then all those actors have gone on to do great things. At the time I remember watching it and liking it, but like any great cult classic, it has become more and more wonderful through the years of revisiting it."
The changing relationships of the longtime friends are explored in the film, which does not follow a typical narrative but instead relies on vignettes, and it was that structure that Crow said provided the challenge of adapting it for the stage. "When Barry called me, one of the first things out of my mouth was, 'I'd love to work on it, but how in the world is 'Diner' going to be a musical? Nothing happens in 'Diner!'"
While revisiting the story, Crow has expanded upon the female characters of the film. The time frame in which the story takes place — the last five days of 1959 — provided her an opportunity to explore the changing cultural norms, which created a great deal of tension.
"One of the things that was interesting to me was what was happening with regard to the women of that period," she said. "As everybody knows, the difference between the 50s and 60s is pretty extreme. When you go from women in the kitchen, the stereotypical roles, to suddenly women becoming sort of liberated in the 60s. So some of the songs I wrote were from the perspective of the female, and Barry loved that. 'Let's make this not just about how change is uncomfortable for the men, but also in some ways, liberating for the women.' I think it's fully realized now that we've embraced all the characters that were in the movie."
"Each of the female characters is kind of metaphorical for the roles that women were either staying in or moving out of," she continued. "The young girl is getting married, and then you have the wife who is discontent because she doesn't know what she is supposed to be doing. She feels like she should be doing something more. Then you have the female who's working at a TV station who gets pregnant and has to make a choice between being a working female or doing what would be expected, which is to get married and raise a family. That's what is happening to the three women. On the other side, [you have] the guy who is getting married because that's what you do, the guy who is married and discontent and the guy who's expecting a baby with his girlfriend and facing the uncertainty of not being a conventional couple."
Breaking with convention is nothing new to Crow, who was a member of the Sigma Alpha Iota International Music Fraternity for Women and makes her musical theatre debut at a time when many successful composers from the pop idiom have made a move to the Great White Way. Recent additions include Sara Bareilles and Cyndi Lauper, who have joined the ranks of Sting and Elton John.
Commenting on the recent increased awareness in female writers following the history-making Tony win of Fun Home (which Crow has not seen yet but plans to), she said, "I'm always happy when females get the opportunity to do what it is we're already capable of doing, just not necessarily have the opportunity to. It's great."
[LIVE PIC] John Lennon 75th Birthday Concert - rehearsals
[ CLICK TO ENLARGE ]
4 December - Sheryl rehearsing for the Imagine John Lennon 75th Birthday Concert
@ Madison Square Garden in NYC (Photo: Boardwalk Prods)
[NEWS] Kathy Griffin: A Standing O for Sheryl Crow [The Mentor Issue]
She was the first celebrity to treat me like a human being and not like I had Ebola.
By Kathy Griffin
I was just starting to do television, because I was on the sitcom Suddenly Susan in the glory days of NBC’s Thursday night lineup—Seinfeld, ER… Lifetime was doing some charity special at the time and every charity event needs the funny girl, the singer, the pretty girl, the athlete and the movie star—it’s kind of like Gilligan’s Island. I was about to do a three-minute set, and I remember being backstage; all these celebrities were there and I was very intimidated. And then Sheryl Crow just walked up to me and said, “You’re on the show with Brooke Shields, right?” and I said, “Yes, Sheryl Crow!” and she said “Tell her I said ‘Hi; she’s such a nice girl.’
I next time I saw her I was by myself, standing in the popcorn line at the movies. And I see her and fucking Owen Wilson, who she was dating at the time, walk in. Even though everyone’s jaded in Hollywood, still I was like, “Holy shit, there’s Sheryl Crow and Owen Wilson!” I was learning that celebrities who have said hello to you once might not do it a second time. They took their seats and then she came back out to the popcorn line, and said, “Hey Kathy, how’s it going?” I know that sounds small but she was the first celebrity to treat me like a human being and not like I had Ebola.
When I would run into her occasionally, like on the red carpet at the American Music Awards, I would ask her about a certain song, and she would be like, “Wow, you really know the B-sides!” and I’d say, “Oh, I am a super-fan, I have lyrics that I live by.”
I can quote them right now, to the point where I sound borderline stalker. She has one song called “Riverwide,” and there are lyrics I remember all the time:
Tell ma I loved the man
Even though I turned and ran
Lovely and fine I could have been
Laying down in the palm of his hand
That’s kind of how I feel about guys! I can’t live this life and lay down in the palm of some guy’s hand.
I love and respect that Sheryl writes her own stuff—doesn’t happen a lot. That’s a big part of what being a true star and a true talent is: writing your own songs, and she can sing them alone acoustically or she can have an orchestra backing her at the Hollywood Bowl.
I’ve seen her live probably five times. She will give it her all whether at a sold-out show at the Hollywood Bowl or at a state fair where she had to co-headline with Kid Rock with his stupid Confederate flag, which Sheryl—I’m pretty sure—is diametrically opposed to.
We talked about how you give 110 percent every show and that’s all there is to it.
Kathy Griffin will co-host CNN’s New Year’s Eve with Anderson Cooper
Sheryl's DINER Musical Begins Performances Tonight @ DTC! Break a leg everyone! Here's a great article+interview by O&A. Check it out!
By Michelle Kramer-Fitzgerald
Out + About magazine
Diner, the new musical based on the 1983 film, is selling out fast. Sheryl Crow discusses how the female point of view was strengthened for the stage show.
For months, area theater enthusiasts have been abuzz about the arrival of Diner, a stage musical based on the classic 1982 film of the same name. That buzz has turned into feverish action as the production prepares for its Delaware Theatre Company debut on Dec. 2 (running through Dec. 27). Advance sales have already broken DTC pre-sale records and look to exceed its all-time sales revenues. So far, more than 4,500 tickets have been purchased, and six performances have been sold out. To meet the demand, DTC released 75 additional seats by taking down the removable walls built into the theater.
Much of this ticket buying frenzy is fueled by the popularity of the film, which quickly became a cult favorite. Heavy on dialogue, quotable quotes and “guy banter,” the plot follows close knit twentysomething pals (Eddie, Shrevie, Boogie, Billy, Fenwick and Modell) in 1959 Baltimore.
While wrestling with and resisting impending adulthood, they reunite on the eve of Eddie’s wedding. The movie is famous for its “popcorn box” scene and a classic Baltimore Colts
quiz that Eddie insists the bride to be must pass. While wrestling with and resisting impending adulthood, they reunite on the eve of Eddie’s wedding. The movie is famous for its “popcorn box” scene and a classic Baltimore Colts quiz that Eddie insists the bride-to-be must pass. It helped launch the careers of several cast members, including Kevin Bacon, Paul Reiser, Steve Guttenberg, Mickey Rourke and Ellen Barkin, and is still mentioned in many “best of” movie lists. It’s even been called the precursor to shows like Seinfeld and The Office.
The movie has been adapted for the stage by Academy Award winning film and television director/producer Barry Levinson, who wrote the screenplay for and directed the film. Levinson (Rain Man, Good Morning, Vietnam, Homicide: Life on the Street, and, most recently, Rock the Kasbah) recruited Grammy Award-winning singer/songwriter/rock star Sheryl Crow to pen the music and lyrics.
The anticipated appearance of these two icons before and during the opening has ramped up fervor for the stage production.
HEADED FOR BROADWAY
Adding one more element to the buzz: this preview has its sights set on the Great White Way.
Nostalgia for the film, Broadway cachet and the Levinson/Crow connection make this the perfect storm of productions, says Company Executive Director Bud Martin. “Of course, I think Barry’s and Sheryl’s star power is a draw,” he says, “but I’ve talked with many people who’ve said, ‘I just bought tickets to see Diner…I love that movie!’”
Martin “found” the musical through New York City Producer Scott Landis, who was looking for a theater to try out the production after it was workshopped in 2012. Landis sent the recording and script to Martin, but at the time it was a more expensive show than DTC could mount. Instead, it went to Signature Theatre of Arlington (Va.) in December 2014, with rewrites and songs added afterward.
Around the same time, Landis had pitched another show to Martin: Because of Winn-Dixie. It was also seeking a preview home, Martin happily obliged, and the show became a smash for DTC in April. During rehearsals of Winn-Dixie, Martin recalls, Landis turned to him and asked, “So, you want to do Diner here next season?” The production budget had been enhanced and Landis’ wife three time Tony Award-winner Kathleen Marshall was on board as the show’s director/choreographer. And the rest, as they say, is (Delaware theater) history.
The cast includes an array of Broadway “ veterans”: Ari Brand as Eddie (Off-Broadway’s My Name is Asher Lev); Aaron Finley as Billy (Broadway’s It Shoulda Been You and Rock of Ages); Derek Klena as Boogie (Broadway’s Wicked and The Bridges of Madison County); Ethan Slater as Modell (NYMF Award for Outstanding Performance in Claudio Quest); Matthew James Thomas as Fenwick (Pippin in the Tony Award-winning 2013 revival), and Noah Weisberg as Shrevie (Broadway’s South Pacific and Legally Blonde).
THE WOMEN'S POINT OF VIEW
For Sheryl Crow, penning this musicalor any musical wasn’t necessarily on her artistic bucket list. “It just wasn’t in my realm of possibility, really,” she said during a recent phone interview.
Crow, 53, who lives in Nashville with her two young sons, grew up loving song and dance movies like Oklahoma and My Fair Lady, and admits to a childhood crush on Gene Kelly. “There were so many amazing musicals I grew up with that had big songs, big stories and big emotion.” She laughs, “I think I was kinda hoping that life was like that…people just breaking into song.”
Crow and Levinson are both rookies in the world of stage musicals. But in a way, Crow says, adapting wasn’t difficult. “Maybe because I grew up a fan of stuff like West Side Story—I loved the way themes wound all the way through the story —it was really fun to write.”
Levinson called Crow about four or five years ago to gauge her interest in helping adapt his movie for stage. “I was really excited for the chance to work with Barry,” says Crow. “He is so gifted, has great taste in production and is the consummate storyteller.”
It’s a tricky story in that there are a lot of characters and a lot of dialogue, Crow says of the original movie. Her challenge was figuring out how to make the story more colorful. “It isn’t anything like writing a record,” says Crow, who released her latest album the very personal Feels Like Home—in 2013. “It’s more like writing ‘on assignment’; writing what these characters feel, their emotions.”
CHANGING THE MAIN MENU
One thing to note about the movie: It really is all about the guys. Its female characters have little screen time. That's where the stage version departs. Crow (and Levinson) really wanted it to put more emphasis on the women in the story — their emotions, their obstacles, their desire to break out of the "traditional" roles of the time. Martin recalls that when Levinson asked Crow to write the music, she replied, "Not if it's just for guys."
Subsequently, female roles were expanded and the characters' internal doubts and frustrations are as integral to the story as the men's. Elyse, whose face you never see in the film, becomes a major character; Beth's plight is realized in more depth; and Barb's story, which is a reflection of modern feminism, is explored.
“Barry was great to let me write from a female point of view," Crow says.
Martin believes the changes are an improvement. “When I heard Sheryl’s music and the voice it gave to the women, I felt like [the show] became even more relevant to a wider audience,” he says. “It really demonstrates the birth of ‘feminism’ before that term was ever used.”
Martin says the music definitely has a “Sheryl Crow flavor” to it. “You can tell she’s written like she would sing. She’s written a great song called ‘Tear Down These Walls,’ sung by a woman who is questioning her marriage, and it’s just riveting.”
Martin says he’d love to hear Crow sing that piece herself, adding, “She really can write a power ballad for a woman.”
Martin describes the set as automated the diner itself moves —that’s something DTC has never done before.
Indeed, the whole production is “a big deal,” as Vice President Biden might say. For one thing, the budget is $700,000. “Our normal season production budget is approximately $600,000,” says Martin. That, and the presence of Levinson and Crow serve to ratchet up the pressure on the DTC’s executive director.
“It’s a little daunting because of the scale,” he says, “but it’s exciting. We’re trying to make this as close to a Broadway experience as possible. I want [everyone] to say, ‘Wow, they do a great job at DTC.’ I want people to come here and feel like it’s a wonderful place to develop work. That’s the pressure for me.”