|
Post by tlcarpenter on Jul 25, 2019 0:02:15 GMT
Who will want to hire her now? It sounds like the whispers I've heard for years of mental instability needs to finally be addressed. What effect will this have on her involvement in Visceral? Still love her, but DAMN GIRL! Faye Dunaway fired from Broadway-bound ‘Tea at Five’ for slapping crew memberOscar-winning actress Faye Dunaway has been fired from the Broadway-bound play “Tea at Five” for creating a “hostile” and “dangerous” environment backstage that left production members fearing for their safety, several sources told The Post. Onstage at the Huntington Theater in Boston, where “Tea at Five” was trying out, Dunaway was playing Katharine Hepburn. Backstage she was channeling Joan Crawford, the deranged, abusive film star Dunaway played in the 1981 movie “Mommie Dearest.” The July 10 performance was canceled moments before curtain because Dunaway slapped and threw things at crew members who were trying to put on her wig, sources say. Enraged at the cancellation, Dunaway began “verbally abusing” the crew. They were “fearful for their safety,” said one source. Dunaway was traveling in Europe and could not be reached for comment. Her lawyer did not respond to an e-mail seeking comment. The producers of “Tea at Five” said in a statement they had “terminated their relationship” with the actress. They said the play, which was well received in Boston, would go to London in the spring and be recast with another actress. “Tea at Five,” a one-woman play by Matthew Lombardo about Hepburn’s recovery from a car accident in 1983, was meant to be a triumphant return to the stage for Dunaway, who famously was fired by Andrew Lloyd Webber before she opened in the Los Angeles production of “Sunset Boulevard.” Dunaway, who won her Oscar as the ambitious television producer in “Network,” was excited to return to Broadway for the first time in 37 years. (Her last appearance was in the 1982 play “The Curse of the Aching Heart.”) “She seemed committed to the role, and fun to be around,” said a source. But her behavior was unsettling at an early photo shoot. Someone gave her a salad for lunch and she threw it on the floor. She was watching her weight and said the salad would be better on the floor than in her hand. She was frequently late for rehearsals, sometimes up to two hours, sources say. She refused to allow anyone to look at her during rehearsals, including the director and the playwright. Although she had the script for six months, sources claim she was never able to learn her lines. During the run of the play at Huntington she was fed lines and blocking through an earpiece. One source says, “98 percent of the play came through the earpiece.” While in rehearsal she left what one production source called “troubling, rambling, angry” voicemails to the creative team during the middle of the night. She also insisted that no one wear white to rehearsals because it “distracts me,” she said. When she was rehearsing on stage at the Huntington no one was allowed to move in the theater because that also distracted her. As she was rehearsing, she began to lose weight. She looked so emaciated that a production member called Dunaway’s former assistant for advice. The assistant said, “It sounds like she’s not complying with her medication.” The producers were so concerned about her condition they called Actors’ Equity Association to see if it was “ethical” to put someone in her state in front of an audience, sources say. Over the last weekend of June she had a full on “Mommie Dearest” meltdown and demanded that staffers at the Huntington Theater get down on their hands and knees and scrub the floor of her dressing room, sources claim. She allegedly threw mirrors, combs and boxes of hairpins at the staff of the theater. She also pulled gray hairs out of her wig because she wanted to play a younger version of Hepburn than the playwright had written. The producer knew they had to fire her when they had to cancel the July 10 performance because she physically and verbally abused several production members. This is not the first time Dunaway has displayed erratic behavior in a show. In the early 1990s she toured the country as Maria Callas in Terrence McNally’s “Master Class.” She showed up an hour late for many performances. She had bellhops rearrange her furniture in her hotel suites in the middle of night because she didn’t like the “flow” of the room. Once, a theater in St. Louis sent her a white limousine, and she reportedly had a fit because she hates white. She demanded a rental car from the hotel to get to the theater. The limo company sent a black car instead, but it was too late — Dunaway was racing to the theater, trailed by both the white limo and the black one. I managed to track her down back then and she was charming on the phone. “Your story sounds like a Fellini movie,” she told me. I haven’t been able to reach her in Europe for this story. But I hope wherever she is there are “no wire hangers!”
|
|
|
Post by tlcarpenter on Jul 25, 2019 0:11:47 GMT
Faye Dunaway fired from ‘Tea at Five’
By Nora McGreevy Globe Correspondent,July 24, 2019
Faye Dunaway has been fired from “Tea at Five,” the one-woman production about Katharine Hepburn that recently concluded a three-week run at the Huntington Avenue Theatre in Boston.
Although the show had been destined for Broadway, producers Ben Feldman and Scott Beck announced a change of course in a two-sentence statement on Wednesday. “The producers of ‘Tea at Five’ announced today that they have terminated their relationship with Faye Dunaway,” the statement said. “Plans are in development for the play to have its West End debut early next year with a new actress to play the role of Katharine Hepburn.” The producers declined to comment further.
Dunaway has long faced rumors that she is difficult to work with. Citing several sources, the New York Post reported Wednesday that producers reached their breaking point on the night of July 10, when Dunaway lashed out at several crew members before the show and caused that night’s performance to be abruptly canceled.
In the Globe’s review of “Tea at Five,” Patti Hartigan wrote that Dunaway gave a “bravura” performance, although “she was slightly rusty on her lines.” In the 75-minute-long play, which ran from June 22 to July 14, Dunaway portrayed an elderly Hepburn recovering in her Fenwick, Conn., home from a foot injury, recalling events from her life and career.
A 1962 Boston University graduate, Dunaway rocketed to fame in 1965 with her breakout role in an off-Broadway production of “Hogan’s Goat,’’ by William Alfred, and went on to an illustrious film career in classics such as “Bonnie and Clyde” and “Chinatown,” and an Oscar-winning turn as a TV programming executive in “Network.’’
Before “Tea at Five” opened in Boston, Dunaway spoke with the Globe’s theater critic, Don Aucoin, and said she was nervous but excited to participate in the production. “I’ve been wanting to move back to the theater, which are my roots,’’ she said.
Matthew Lombardo originally wrote “Tea at Five” as a two-act play but shortened it to one act with Dunaway specifically in mind as Hepburn. Now heading to London’s West End with a different actress, the play would have marked the 78-year-old actress’s first appearance on Broadway in 37 years.
|
|
|
Post by FayeDunawaysWig on Jul 25, 2019 6:26:44 GMT
As a huge fan for many years it really really breaks my heart to say but I think this is it. The piece was a really brutal takedown and I don’t think she can come back from it. Now what she does do backstage is public no one will take a chance, and this was the best opportunity she has in years.
Someone who casted Faye as a lead in an upcoming movie with Virginia Madsen, Billy Baldwin posted on Facebook that although he was happy to have casted her he has no choice but to cut all ties with her because it was unacceptable to be so abusive to the crew. Sigh.
|
|
|
Post by Brice_G on Jul 25, 2019 8:36:39 GMT
What a great career move. It's really sad. She had a great, unexcepted chance to make a real comeback. What a waste ! (And God, I love her too) Remember the “Hand of God” stuff not so long ago ? Well, at least Dana Delany is saying this...
|
|
|
Post by Brice_G on Jul 25, 2019 9:31:33 GMT
Statement from her UK agent :
|
|
|
Post by nboston81 on Jul 25, 2019 18:26:23 GMT
It's very sad this happened, but not all that surprising. It's unfortunate that the crew had to deal with this sort of behavior. Selfishly, I'm at least pleased that she was able to return to the stage for a short run. I don't know why, other than I'm such a fan of hers and it is nice to know she went back to work for a while. Evidently she is not in a condition to do so.
I suspect this is the end of her getting jobs in the business, but I don't think that means she'll be black-listed or uninvited from attending events and things. I think, after all these years, and especially at her advanced age, people understand Faye is who she is and she will not cool down or change. So many different costars and directors have complained about things like this over the years. (Though I'm not sure the physical violence had ever been part of it until this story). Sad sad sad.
|
|
|
Post by faye67 on Jul 25, 2019 21:36:20 GMT
This is it, guys. Her career is over. She has received an unexpected chance to make a comeback of sorts and blew it. This woman is seriously mentally ill and probably shouldn't work anymore. Her reputation is beyond ruined and it's not worth the trouble to hire her over and over again. What saddens me is the fact that she ruined her career with these crazy antics. I wish her well and she should seek professional help.
|
|
|
Post by nboston81 on Jul 25, 2019 21:58:17 GMT
I'm curious to know if and when Faye will release some kind of statement to address what happened. I'm not sure if she has a publicist nowadays or what. Will she take responsibility for what happened or will she deflect and blame others for much of it? I would love to see this have some kind of positive resolution (especially late in life). Whether that comes from a statement of apology or even an interview. Or maybe a private intervention where people can help her towards getting some help? We'll see.
|
|
|
Post by nboston81 on Jul 26, 2019 17:33:26 GMT
Boston Globe: This was no happy homecoming for Faye Dunaway. Instead it was a demolition.
By Don Aucoin, July 26, 2019.
It was a weekend night two weeks ago, and movie legend Faye Dunaway had just taken several bows after her next-to-last solo performance in “Tea at Five’’ at Boston’s Huntington Avenue Theatre, when something odd happened.
As the curtain began to close, Dunaway suddenly reached out and touched it in a gesture that was half-grab, half-push. Was she trying to keep the curtain open so she could take one more bow? Or was she simply startled? Either way, the gesture by the 78-year-old actress drew snickers from the audience.
Now the curtain has come crashing down on Dunaway’s much-anticipated theater comeback, and in the most ignominious fashion imaginable. This week the Oscar-winning star of films like “Network,’’ “Chinatown,’’ and “Bonnie and Clyde’’ was summarily fired by the producers of “Tea at Five.’’ The announcement of her firing in a terse two-sentence press release was quickly followed by a story in the New York Post that Dunaway “slapped and threw things’’ at crew members and generally behaved erratically in Boston. Matthew Lombardo, the playwright who rewrote “Tea at Five’’ specifically for Dunaway, posted a link to the story on his Facebook page, writing two words above that spoke volumes: “Ummm. Yup.’’
It’s probably premature to say we’re witnessing the downfall of a great star, but at a minimum, this episode represents a very dark chapter late in Dunaway’s storied career. One of the most-anticipated productions of the year in Boston theater circles, “Tea at Five’’ gave her the chance to portray a figure who looms even larger in film history than Dunaway does, and whom she greatly admires: Katharine Hepburn. It was designed to pave the way for Dunaway’s triumphant return to Broadway after a 37-year absence — and, more broadly, her journey back to the place she considers home: the stage. In a June interview, she told me: “I’ve been wanting to move back to the theater, which are my roots. Wanting to work more there.’’ But it’s very hard to picture another theater producer taking a chance on hiring Dunaway anytime soon.
The Dunaway debacle could also deliver a sidelong blow to Boston’s fitful attempt to regain its status as a pre-Broadway tryout town, coming as it does on the heels of the cancellation of this fall’s tryout of “Magic Mike the Musical’’ at the Emerson Colonial Theatre. Boston was supposed to be the site of the sole pre-Broadway engagement for “Tea at Five,’’ but in announcing Dunaway’s firing, producers said that the play is going to be recast with a different actress for a run in London’s West End early next year. They said nothing about whether it will then go to Broadway. (As of midday Friday, the producers had not responded to earlier Globe requests for elaboration on the circumstances of Dunaway’s dismissal and to questions about the possible Broadway prospects for “Tea at Five.’’)
Is the episode a cautionary tale about the kind of pressure cooker that an actor enters when performing live, especially in a solo show? Actors have to wage a constant battle against ageism, but Dunaway’s reported struggles with her lines at some performances are bound to raise the age issue in some circles. She reportedly had some lines fed to her through an earpiece — a tactic that Al Pacino also resorted to during the 2015 Broadway run of “China Doll,’’ according to New York Post theater columnist Michael Riedel, who was also the writer who reported this week on Dunaway’s alleged behavior in Boston.
Her firing can be seen as a signal that theater producers are willing to play hardball, even with the biggest names. It’s worth remembering the behind-the-scenes challenges theater staffers can face when dealing with celebrities. Sometimes those staffers find themselves on the receiving end of a star’s whims or outbursts. (“Tea at Five’’ rented the Huntington Avenue Theatre, the main stage of the Huntington Theatre Company, but it was not a Huntington Theatre Company production. The company provided only the box-office and front-of-house staff, and the rest of the crew who worked on “Tea at Five,’’ including hair and makeup technicians, worked for the production itself, according to a source with knowledge of the situation.)
Staging “Tea at Five’’ in Boston was supposed to represent a happy homecoming for Dunaway. She went to Boston University in the early 1960s, got her professional training here before heading off to Broadway and film stardom, and then became visible in Boston again in the 1970s during her marriage to J. Geils Band singer Peter Wolf. “I have a great history with Boston,’’ Dunaway told me. “I love this city.’’
But this city did not appear to love her back, not this time. When I attended that July 13 performance of “Tea at Five,’’ the house was one-third empty, even though it was a Saturday night, prime time for theatergoers. Now, she might well have additional chapters to write in her amazing career. She recovered from the Academy Awards “La La Land’’-“Moonlight’’ fiasco, after all. At least for now, though, Boston is where it all began and where it fell apart for Faye Dunaway.
|
|
|
Post by tlcarpenter on Jul 27, 2019 2:54:52 GMT
The clip below put a smile on my face. Dish Nation is team Faye - and apparently say that Faye walked in and caught people trying on her wig. The Post did write: "slapped and threw things at crew members who were trying to put on her wig" Someone on another board asked why it would take multiple crew members to put a wig on Faye? Did she catch them playacting in the mirror wearing her wig like Christina in the film that must not be named?
The clip ends by stating Faye is in Europe - sources say she is on the yacht of that Prince Azim of Brunei. Oh to be a fly on the cabin wall!
Dana Delaney tweeted when some accused Faye of white privilege : Privilege has nothing to do with it. It's a chemical imbalance. Don't judge.
Is the industry secret of her mental issues slowly creeping out? The NY Post article includes her former assistant saying she's not complying with her medication. And the producers contacted Actor's Equity inquiring about the ethics of putting someone in her state in front of an audience. Hmmm......
Porsha Willams is now my favorite Bravo! Housewife (don't watch them personally) because of her defense of Faye haha
|
|
|
Post by nboston81 on Jul 27, 2019 8:59:42 GMT
Faye has barely worked in the industry in the last two decades so I think what we're seeing now is Faye coming to realize what it's like to work in the business in the Twitter era. In the old days there was a motto of "What happens on the set, stays on the set" so Faye's problems and drama were (usually) kept quiet. But nowadays, that doesn't happen.
I noticed a few actors (such as Heather Matarazzo and Gabourey Sidibe) and writers in the business responded to the article on Twitter and indicated they (and EVERYBODY) in Hollywood have their own stories of run-ins like this with Faye. Sidibe said hers was on an airplane. They didn't elaborate with details but said "We should all meet for a drink and trade stories." Poor Faye.
Glad that Dana Delany is sticking up for her and pointing out some of this is really out of Faye's control.
|
|
|
Post by nboston81 on Jul 27, 2019 18:02:13 GMT
Page Six piles on with some new quotes from people (co-stars and crew) that have had run-ins with Faye over the years. Others are re-hashing of old drama we all know.
Insiders not surprised by Faye Dunaway’s alleged ‘diva’ behavior By Michael Kaplan and Merle Ginsberg July 27, 2019 | 1:12pm
When The Post reported this week that actress Faye Dunaway was fired from the Broadway-bound play “Tea at Five” — after allegedly slapping crew members and throwing things at them, and creating a “dangerous” environment in which no one was allowed to wear white lest it distract her — some people were not surprised.
“My first day on the set, she slapped me,” said Rutanya Alda, who appeared with Dunaway in the 1981 movie “Mommie Dearest.”
Alda, who played the assistant character to Dunaway’s Joan Crawford, told The Post that they were filming a scene when “instead of doing a stage slap, she slapped me on the cheek, hard and for real.”
Broadway wig designer Paul Huntley, who worked with Dunaway on a 1996 tour of the show “Master Class,” claims to have witnessed her wrath. “Faye didn’t like how the hairpins were being presented and she slapped my assistant’s hand,” recalled Huntley. “[The assistant] was horrified and did not know what to do.”
A publicist for Dunaway had no comment for this story.
Indeed, the streets of Hollywood and Broadway are paved with tales of bad behavior by the legendary actress, who has starred in such film classics as “Bonnie and Clyde,” “Chinatown” and “Network.” Nominated for Best Actress Oscars for all three, she won in 1977 for “Network.”
According to the book “Easy Riders and Raging Bulls,” during the filming of 1974’s “Chinatown,” Dunaway had a habit of urinating into trash cans and a disdain for flushing toilets in her dressing room. Rather, the book claims, she called in Teamsters to do the job, leading to multiple resignations. (Dunaway told author Peter Biskind she had “no recollection” of such doings.)
Once during filming, the book alleges, Dunaway said that she needed a bathroom break but director Roman Polanski asked her to wait. Later, when he bent down to speak with the actress through a car window, she allegedly responded by tossing a cup of liquid into Polanski’s face. It was full of urine.
Asked about the incident by the Guardian, Dunaway was quoted as calling the story “absolutely ridiculous” and saying it “doesn’t even deserve the dignity of a response.”
Her pissy behavior has been so extreme, even other notoriously prickly actors are shocked. James Woods, who worked with Dunaway on the 1976 TV movie “The Disappearance of Aimee,” recalled in an interview how “she threw something at me because I ad-libbed a line . . . She was just so rude. If Bette Davis [also in the movie] can be nice to people, Faye Dunaway ought to be buying them limousines as presents.”
Davis — said to be one of the most cantankerous women in Hollywood during her era — agreed. When “Tonight Show” host Johnny Carson asked her to name the worst people in Hollywood, she chose Dunaway.
More recently, a makeup artist was offered two films in 2006 — one starring a veteran actress, who, the artist said, was known by film-crew workers as “a real c–t,” and one with Faye Dunaway, who colleagues said was “a psycho.” In talking to several other makeup artists, she was warned, “The c–t is much better to work with than the psycho.” She chose “the c–t.”
The Post also reported this week that Dunaway, 78, never learned her lines for “Tea at Five.” This led some Twitter users to speculate whether Dunaway’s age might have caused her memory to lapse.
But singer Jill Sobule, who had a hit in 1995 with “I Kissed a Girl,” recalls Dunaway having similar issues decades ago. A teenaged Sobule was an extra on the Denver, Colo., set of “The Disappearance of Aimee.”
“Faye Dunaway was hours late and we were all waiting for her, sweating through our costumes on the hottest day of the summer in an un-air-conditioned church,” Sobule told The Post. “[When she] finally arrived, she was in the foulest mood and didn’t know her lines. She yelled at people and huffed off the set . . . It was like something out of ‘Valley of the Dolls.’ ”
Dunaway’s shenanigans have not been limited to showbiz settings.
In the 1990s she lived in West Hollywood. A former neighbor recalled to The Post how the actress would park her Volvo station wagon and Mercedes SL “in anyone’s driveway, or block driveways. She’d always get into fights with [neighbors]. If they called the cops, she’d yell at the cops!”
According to a former employee of the now-defunct store Video West in West Hollywood, the actress used to drive up to the store and honk her car horn, waiting for someone to come out to collect her videos. If they took too long, the source told The Post, Dunaway would “just toss [the tapes] out the window.”
Michael Procopio, now a food writer in the Bay Area, was working at a Los Angeles Pottery Barn when he had his first run-in with Dunaway.
“I made eye contact, she walked over and asked a question about wine glasses. I was so new that I didn’t have the answer and [had to ask] my manager,” he said. “I told her it would just be a second while he checked . . . She called me ‘a f–king moron’ and told me I couldn’t do my job.”
A couple of years later, Procopio was working at the Beverly Hills restaurant Kate Mantilini when Dunaway was seated at one of his tables. She proceeded to order a complicated version of a menu item, asking for so many substitutions that it ceased being the dish on offer. “She hated the food, hated me and hurled another epithet. She was an awful person both times. Nobody likes her.”
Food seems to be a recurring theme in Dunaway’s meltdowns.
“I had lunch with Faye at The Ivy, and she pulled out a mini-kitchen scale and weighed all the food she was allowed to eat,” a Dunaway colleague told The Post. “She was . . . very cranky. Probably starving.”
As The Post reported this week, the actress allegedly threw a salad on the floor while doing a photo shoot for “Tea at Five” — saying it would be better there than in her hand.
Sources claimed that “Tea at Five” producers were so concerned about Dunaway that they called Actors’ Equity Association to see if it was “ethical” to put someone in her state in front of Boston audiences.
Despite her reputation, some in Hollywood — even those who have been on the receiving end of her outrage — feel sympathy for the actress.
An Oscars insider recalled how upset Dunaway was after her co-presenter Warren Beatty mistakenly announced “La La Land” — instead of true winner “Moonlight” — as Best Picture at the 2017 Academy Awards.
“I saw her whip out her phone to show James Corden a picture of the card she and Beatty had been given on the Oscar stage — the one with [‘La La Land’ star] Emma Stone’s name on it,” said the Oscars insider. “She was showing as many people as she could. She was so embarrassed and afraid people were chalking it up to her age.”
There was at least one person whom even Dunaway was intimidated by. While filming the 1987 movie “Barfly,” co-starring the actress and Mickey Rourke, the notorious Charles Bukowski — who’d written the script, derived from his memoirs — was sometimes on set.
“Bukowski was a pugnacious alcoholic and would get into a fight with anyone at the drop of a hat,” said Jonathan Hodges, who was an assistant prop-master on the film. “So she never messed around with him.”
The actress also has been incredibly loyal to those she’s loved.
During the making of “Mommie Dearest,” there was a day when cast members were told not to bother going to the set. They feared they were being fired.
Instead, “Faye wanted Terry O’Neill [her then-husband, a photographer] to get a producer credit,” recalled Alda. “He had never worked on a movie in his life, and she insisted that he get the credit or she would not show up. So much was invested that they decided to give him the credit.”
Dunaway — who was also married to J. Geils Band singer Peter Wolf during the 1970s, and has been romantically linked to comedian Lenny Bruce and actor Marcello Mastroianni — likewise made demands for O’Neill while working on the 1985 CBS miniseries “Christopher Columbus.”
Before making a scheduled appearance to promote the miniseries, she called up with an ultimatum.
“She wouldn’t appear unless CBS provided two first-class round-trip airplane tickets for a husband and son [Liam, now 39],” recalled someone who was a CBS publicist at the time. “The network was over a barrel, with too much at stake to do the event without her, and they provided the tickets.”
Dunaway also seems to be so tender-hearted about her loved ones, being reminded of them can be a trigger. A New York media insider recalled walking through Times Square in 1981 and seeing the actress and her parents gawking at the lines of“Mommie Dearest” theater-goers that were “literally around the block . . . It’s one of the nicest things I ever saw, a prideful daughter with two very proud parents.
“Years later, I find myself sitting with her at the Hollywood Improv. I told her how she gave me one of my favorite moments, when I saw her standing in Times Square with her parents. She cursed me out. Turns out she didn’t like talking about her [now-deceased] parents anymore — how dare I remind her of them.”
Whatever is fueling Dunaway’s ire, one thing is for sure.
“She is a wonderful performer, but her own worst enemy,” said wig designer Huntley.
“She must be very insecure and very scared,” said the CBS publicist. “‘Tea at Five’ was such a good opportunity for her. Right now, it looks like her career is toast.”
|
|
|
Post by Brice_G on Jul 27, 2019 18:44:54 GMT
Again, the whole situation is very sad.
She is such a phenomenal actress, maybe that’s why people kept working with her for so long. Even Polanski said it was worth it. I mean, it’s the result that counts. (I am certainly not saying it’s great to slap people or throwing whatever stuff at them). I remember the “Mommie Dearest” producer saying in one interview that it wasn’t easy but that he would do another film with her without hesitation. (“She’s incredibly demanding,” says Yablans of reports that she made the Mommie Dearest set a battleground, “but I’ll take her any day over someone who doesn’t care. I would work with her tomorrow and forever.”)
I’ve seen Faye on several occasions in Cannes and she was always wonderful. But I’ve heard several stories there too. For instance, the direction hired an assistant for her when she was invited in 2011 for the whole festival and the girl gave up after only two days... On the other hand, at the Verhoeven film party in 2016, the assistant she had for the festival loved her. He told me she was larger than life but very touching and adorable.
Regarding “Tea at Five”, I think Matthew Lombardo and the whole team loved her work. I’m sure they’ve heard stories before but they just got along well with her at first and though that this would go well. Again, she is a phenomenal actress. So, why wouldn’t they want to try ?
Regarding her trouble with her lines, well, I can say it’s the same for Catherine Deneuve. She never learn them, she doesn’t want to be prepared, she wants to do it at the very moment, to be “spontaneous” . And when you see the result, she is great right ? What I can also say is how Faye is similar to Isabelle Huppert. When she is working, she can be what people call “difficult”, she can be a nightmare to her staff. But I guess it’s France, I don’t know. If Faye was a French actress, I have no doubt she would be in many films. I also know people who’ve worked on “Grace of Monaco” who told me how wonderful Nicole Kidman was — but also that her staff feared her to death...
And I think Ben Mankiewicz is right. Faye is sensitive and may have trouble to see when people want to help her.
|
|
|
Post by Brice_G on Jul 27, 2019 18:48:16 GMT
And also, I will keep you informed if I get some news on “Visceral”...
|
|
|
Post by Brice_G on Jul 29, 2019 20:30:54 GMT
Faye Dunaway Calls Diva & Abuse Allegations ‘Lies’ To Pals, Believes She’s A ‘Scapegoat’
The actress was accused of slapping & berating theater staff. July 29, 2019 @ 12:54PM
Faye Dunaway has remained mum on scathing allegations she physically assaulted Tea at Five crew members and berated staff, but behind the scenes, the Oscar winner is slamming the claims as vicious “lies,” RadarOnline.com can exclusively report.
“She said the stories were ‘100% fabricated,'” a source close to the 78-year-old actress told Radar.
In fact, Dunaway told friends producers of the Broadway-bound play are using her as a “scapegoat” for low ticket sales.
She said “they were cutting corners, and tried to do the play with no budget. Faye said she was doing the play a favor, and it was only headed to Broadway because of her,” snipped the source. “She thinks producers failed to market the play properly, and as a result ticket sales were bad. So they used Faye as the scapegoat by blaming her for the show’s failure.”
Furthermore, the source claimed, Dunaway said the “diva” allegations and firing were “antifeminist.”
“She feels exploited by the stereotype that was used against her yet again,” the source said.
“People are intimidated by Faye’s assertiveness. If she were a man, she would be called a genius.”
“When she walks in the room, she not only turns heads, but she demands respect and won’t hesitate to set you straight if she doesn’t get it,” the Dunaway source fumed. “She is not a diva. She is a seasoned, award-winning actress who has paid her dues in Hollywood and deserves nothing but respect. She deserves an apology.”
According to Page Six Opens a New Window. , the actress, 78, was fired from the Boston-based play for allegedly creating a “hostile” and “dangerous” work environment.
She allegedly slapped a crew member who was attempting to put on her wig minutes before a July 10 performance, leading producers to cancel the show.
In another bizarre incident, she reportedly threw a salad on the floor. A source told Page Six she was hours late for rehearsals, and could not remember her lines.
Tea at Five producers said in a statement they had “terminated their relationship” with Dunaway.
She has yet to publicly respond to the reports.
|
|