Press & Media
By all accounts, the actor Michelle Azar doesn’t just portray the late Ruth Bader Ginsburg in “All Things Equal” … She becomes her.
So she’s a lifelong feminist, right?
“Quite the opposite, actually,” Azar admitted recently, on the phone from her home in Los Angeles. She came to the play, she said, from a man’s world. Her father was born in Iraq. His mother had been sold into marriage at age 12.
“He told me I was going to be married by 16,” Azar said.
The show is the latest from Tony winner Rupert Holmes, the one-time pop star who made a splash on Broadway with his theatrical debut, the musical “The Mystery of Edwin Drood” (1985). The creator of nearly 20 plays in all, he scored another hit with 2003′s “Say Goodnight, Gracie,” a one-man show starring Frank Gorshin as George Burns.
Excerpts from the D.C. Theater Arts review: “The late great Ruth Bader Ginsburg — channeled onstage with uncanny grace by Michelle Azar — had been talking to us, her enthralled audience, as though we each were a visiting new friend being welcomed into her life. She told us of her youth, her family, her education, her aspiration. She shared with us her smarts, her humor, her gumption, her warmth. But there came a point when she stopped. She seemed to be choking up, unable to speak, holding back a sob. As though on empathic cue, we in the packed theater fell silent too, for what seemed a forever caesura of breathlessness and concern. The iconic RBG before us was telling us about the time she learned that the cancer invading the body of her beloved husband Marty was incurable. She was telling us what the doctor told her: “It’s time to take him home.” And we saw her nearly lose it…Then we witnessed her go on.”
In her review of Rupert Holmes’ play “All Things Equal,” The Virginian Pilot theater critic Page Laws leads off with the heading “Notorious reigns victorious” and the subheading “Play about Ruth Bader Ginsburg pleases the court at the Attucks.” The “Notorious” in this case is “The Notorious RBG” (Ruth Bader Ginsburg) as portrayed by the incomparable Michelle Azar, the star of Rupert Holmes’ play “All Things Equal.” The one-woman play was performed by Azar at the sold-out Attacks Theater in Norfolk, VA, as part of the Virginia Arts Festival.
Rupert was honored to be the most recent guest on David Pomeranz’s Podcast “Song Sessions.” The Podcast has included interviews with some of the most iconic Singer/Songwriters and Entertainers of all time.
The Manhattan School of Music (click below to play)
Gladstone’s Library will host Alibis in the Archive online (October 9-10, 2021). The festival promises to serve up crime-writing clues and confessions, and tips on cracking (fictional) cases. Rupert Holmes will be a guest and speaker, appearing live online October 9, 2021 (3:30PM UK time, 10:30AM US ET) for the event’s “Murder On Stage” segment. Noted British mystery novelist and editor Martin Edwards will host the segment, joined by Edgar-award-winning writers Rupert Holmes and Joseph Goodrich.
To his Tony awards for Best Book and Best Score for his Tony award-winning musical, his four Drama Desk awards, his National Broadway Theatre Award for Best Play, his two Edgar Awards from the Mystery Writers of America, and his career achievement George M. Cohen Award from ASCAP, Holmes now adds this most meaningful award: Doctor of Musical Arts Honoris-Causa from one of the world’s greatest music conservatories, bestowed at the MSM commencement ceremony on May 20, 2021.
See The Mystery of Edwin Drood Reunion on Seth Rudetsky and James Wesley’s Stars in the House, with special guests Betty Buckley, Patti Cohenour, John Herrara, Rupert Holmes, Judy Kuhn, Howard McGillin and Donna Murphy.
By Jason Campbell, Culture Sonar, March 2020
Few figures in the entertainment industry have mastered as many mediums as vocalist, songwriter, producer, arranger, and playwright Rupert Holmes. In a career that has spanned more than five decades, he has conquered the realms of radio, television, and theatre. His first success came via pop-rockers The Buoys, who scored a hit with his lurid survivalist tale “Timothy“ in 1971.
Between 1974 and 1981, Holmes released seven albums that display his gifts as a tunesmith and storyteller. Known by many as the man behind “Escape (The Piña Colada Song),” he remains a whole lot more than what that novelty hit might suggest, hence his in-demand role as a producer and songwriter during the 1970s.
By Joe Marchese, The Second Disc
There are songs that sound like movies/There are themes that fill the screen/There are lines I say that sound as if they’re written/There are looks I wear the theatre should have seen…
With those words, Rupert Holmes welcomed listeners into his singular musical world – one in which the only limits were those of the singer-songwriter’s boundless imagination. In other words, there were no limits to Holmes’ finely crafted, elaborately realized pop dramas. His 1974 Epic Records debut, Widescreen, was filled with those songs that sound like movies, and now it’s about to be reissued as part of a box set appropriately entitled Songs That Sound Like Movies: The Complete Epic Recordings. This 3-CD collection, out today from Cherry Red Records, presents the first three albums created by the nonpareil musical storyteller and his collaborator and sonic wizard, producer-engineer Jeffrey Lesser, all of which pushed the boundaries of what was expected from pop music. The reissue of these long out-of-print treasures might be cause enough to celebrate, but to sweeten the deal, the label has added a number of rare and previously unreleased bonus tracks. If you only know Rupert Holmes from “Escape (The Pina Colada Song),” you’re in for a particular treat.