Showing posts with label bards and minstrels. Show all posts
Showing posts with label bards and minstrels. Show all posts

5/31/2012

Faerie Tale Theatre - Princess and the Pea (1984) Review

Faerie Tale Theatre - Princess and the Pea  (1984)
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THE PRINCESS AND THE PEA is one of the all-time great FAERIE TALE THEATRE episodes. Featuring a talented cast and brilliant costumes and sets, it's totally adorable.
Prince Richard (Tom Conti) leads a boring and eventless life under the thumb of his controlling mother Queen Veronica (Beatrice Straight). Until, one stormy night, in whirls the vivacious Princess Alecia (Liza Minnelli). But is she really a princess? Queen Veronica is skeptical, so employs a method to test her royalty: she places a tiny pea under 20 mattresses and quilts. If Alecia can feel the pea it will prove beyond any doubt her royal blood.
Will Alecia pass the test? And if she does, will she choose to marry Richard? You'll find out in THE PRINCESS AND THE PEA. Co-starring Jane Alden and Nancy Allen.

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5/29/2012

Kiss Me Kate (Broadway Revival - PBS Great Performances) (2003) Review

Kiss Me Kate (Broadway Revival - PBS Great Performances)  (2003)
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`Kiss Me Kate', Winner of 5 Tony Awards, 6 Drama Desk Awards and 4 Outer Critics Awards including Best Musical Revival, is a wonderful production with breathtaking performances from a stellar cast including Brent Barrett and Rachel York. What I want to clear up is the criticism of the DVD. I have to disagree with everything negative said - the sound is fine and a pleasant balance of orchestra and vocal with a crisp clarity.
Secondly, the DVD is widescreen and captures a lot of the onstage `business'. Indeed the cameras do follow the main action, but never misses anything. It has been filmed by people who both appreciate the performance, the art and the intention of Michael Blakemore. Since he directed it and then adapted `Kiss Me Kate' for television, surely he of all people knows what needs to be filmed?
Always, the performance has an `on stage' feel and I urge you to ignore the exaggerated views of others here. Sound is good, video is good, DVD menu is good and I guarantee that you'll be as enthusiastic about the DVD as I was today after watching it. Maybe the others need to appreciate that this is a stage `adaptation' as stated on the DVD case.

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The first Broadway revival in nearly 50 years of the musical comedymasterpiece by composer Cole Porter and book writers Sam and Bella Spewack not onlyenchanted critics and delighted audiences, but went on to triumph as one of the biggestprize winners of the 2000 season. Taking its inspiration from Shakespeare, this hilarious romp recounts the backstage and on-stage antics of two feuding romances during an out-of-town tryout for a musical adaptation of The Taming of the Shrew. Sparkling with 18 classic Cole Porter songs including "Another Op'nin', Another Show," "Wunderbar," "So in Love," "Always True to You in My Fashion," "Too Darn Hot," and "Brush Up Your Shakespeare" this is Broadway musical comedy at its irresistible best. Directed by Michael Blakemore, this Tony winner for "Best Revival" stars Brent Barrett, Rachel York (Victor/Victoria), Nancy Anderson and Michael Berresse as the squabbling couples whose offstage disputes entangle them with a pair of song-and-dance gangsters and a pompous U.S. army general.

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5/28/2012

Faerie Tale Theatre - The Nightingale (1982) Review

Faerie Tale Theatre - The Nightingale  (1982)
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THE NIGHTINGALE is one of the all-time greatest episodes of FAERIE TALE THEATRE, featuring great performances, expert direction by Ivan Passer and a heartbreaking musical score.
The Emperor of Cathay (Mick Jagger) lives in a porcelain palace with his courtiers completely cut off from his people. When he hears about a magical bird called the Nightingale and it's exquisite song, he demands an audience with it. The Kitchen Maid (Barbara Hershey) swiftly leads the Prime Minister (Edward James Olmos) to the bird. When the Nightingale sings for the Emperor, it immediately gladdens his heart and giving nature.
But when a mechanical version of the Nightingale is given to the Emperor, he quickly dismisses the real bird. Now ill and close to death, the Emperor needs the love and companionship of the real Nightingale more than ever...
Featuring strong performances all around. Co-starring Bud Cort as the Master of Imperial Music. Look closely and you'll spot Anjelica Huston and Jerry Hall as the fairies Primrose and Pansy.
Highly-recommended

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5/25/2012

Faerie Tale Theatre - Thumbelina (1982) Review

Faerie Tale Theatre - Thumbelina (1982)
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"Thumbelina" is a fantastic retelling of the classic Hans Christian Andersen fairy tale, "Little Thumb".
Produced in 1983 (and released the following year), as part of Shelley Duvall's charming live-action "Faerie Tale Theatre", the narrative is told with good humour, imagination, and a great sense of fun. The magnificent cast adds much colour and warmth to the proceedings. In particular, Carrie Fisher, in the title role, delivers a captivating performance. She makes an extremely attractive heroine, not to mention one who's "more than just another pretty face". She's an absolute delight, adding her unique qualities to the role. Not only is she pint-sized in real life (although not quite as tiny as a thumb!), she has a lovely, deep voice that is quite at odds with her diminutive stature. When she sings, it is a beautiful and rewarding experience. Indeed, she sings with "an angel's voice". (This is also a highlight for any Carrie Fisher fan, as she began her career as a singer, and yet she only sings briefly in "Hannah and Her Sisters", 1986, and in the Walt Disney live-action comedy, "Sunday Drive", also released in 1986.)
Carrie Fisher is supported by equally delightful character actors. The late Burgess Meredith is in top form as Mr Mole, the second would-be husband of Thumbelina. Likewise, William Katt makes a very positive impression as the Prince of the Flower Angels.
This wonderful fairy tale is further enhanced by excellent production values, including great music, atmospheric sets, and good costumes and creatures like Mother Toad, her hapless son, Herman, the Fieldmouse, and the Swallow.
The script faithfully follows the original story, although the gender of the Fieldmouse has been changed, making for a more convincing friendship with Mr Mole to exist, as well as creating a heartfelt guardianship of Thumbelina along strictly platonic lines.
This well-written and perceptive tale ("I'm always the bride, but never the bridesmaid") makes for enchanting family entertainment. "Thumbelina" delivers a great message, too, but above all, it's storytelling at it's most memorable.
I applaud executive producer Shelley Duvall, and all involved, for giving such a wonderful gift. It's up there with Jim Henson's equally engaging "Storyteller" anthology series, produced in the late 1980s, and the "The Doll", an Emmy Award winning episode of "Amazing Stories" (of the same era).
For me, it's an extra special treat because Carrie Fisher became much more than just Princess Leia with this performance. Besides, she continues to melt me every time she smiles as the Ultimate Flower Angel! Let's hope that this "Faerie Tale Theatre" production, along with my other favourites like "Beauty and the Beast", are re-released soon. Preservation on DVD for future generations is highly recommended.

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5/24/2012

Richard III (1956) Review

Richard III  (1956)
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Those who criticize Laurence Olivier and Alan Dent -- co-authors of the screenplay -- for taking certain liberties with Shakespeare's play should also criticize Shakespeare for taking certain liberties with the historical material on which he often relied so heavily. In this instance, Holinshed's Chronicles of England, Scotland and Ireland, Vol. 6, and various Tudor Historians. In my opinion, such quibbling is a fool's errand. This much we do know about the historical Richard III. He was born in 1452 in Fotheringay Castle, Northamptonshire, the youngest son of Richard, Duke of York. He was created Duke of Gloucester by his brother, Edward IV, in 1461, accompanied him into exile (1470), and played a key role in his restoration (1471). Rewarded with part of the Neville inheritance, he exercised vice regal powers, and in 1482 re-captured Berwick-upon-Tweed from the Scots. When Edward died (1483) and was succeeded by his under-age son, Edward V, Richard acted first as protector, but within three months, he had overthrown the Woodvilles (relations of Edward IV's queen), arranged for the execution of Lord Hastings (c.1430-83), and had himself proclaimed and crowned as the rightful king. Young Edward and his brother were probably murdered in the Tower on Richard's orders, although not all historians agree. He tried to stabilize his position but failed to win broad-based support. His rival Henry Tudor (later Henry VII), confronted him in battle at Bosworth Field (August 22, 1485), when Richard died fighting bravely against heavy odds. Though ruthless, he was not the absolute monster Tudor historians portrayed him to be, nor is there proof he was a hunchback.
Cleverly, this film begins with the final scene of Henry IV, Part III, the coronation of Edward IV (Cedric Hardwicke). Locating himself at a strategic distance from the throne, the Duke of Gloucester (Olivier) carefully observes those around him. He shares with those who see this film or read the play his most private thoughts and feelings, many of which are as deformed as his body. Gloucester's "winter of discontent" will soon end. With a systematic tenacity unsurpassed by any other of Shakespeare's villains, Gloucester's coronation as Richard III (his own "glorious summer") will be the fulfillment of his royal ambition. The acting throughout the cast is outstanding. I do not recall another film in which Olivier, John Gielgud (George. Duke of Clarence), and Ralph Richardson (Henry Stafford, Duke of Buckingham) all appeared together, joined by Claire Bloom (Lady Anne Neville) and Stanley Baker (Henry Tudor). Special note should also be made of Otto Heller's cinematography which is integrated seamlessly with their performances. It is a pleasure to have this film now available in a DVD format, one which offers much sharper images and much clearer sound. Other special features of this DVD version include high-definition digital transfer; newly discovered footage; a commentary by playwright and stage director Russell Lees and John Wilder, former Governor of the Royal Shakespeare Company; 1966 BBC interview with Olivier hosted by Kenneth Tynan; a 12-minute television trailer; a theatrical trailer; and an essay by film historian Bruce Eder.

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Widely acclaimed as his crowning Shakespearean film performance, Laurence Olivier's Richard III is the notorious tale of Richard of Gloucester.This deformed king connives, backstabs, and woos his way to the top of the royal heap, but his treachery eventually lands him on the fields of Bosworth, dying and screaming "A horse! a horse! my kingdom for a horse!" Olivier, who loved the role for "its bloodcurdling spurts of malevolence" and "smoldering sexuality," gives a performance that will define Richard III for years to come.A cast replete with Britain's acting royalty give a command performance of the highest order.Restored to its original widescreen version, the film blazes with vivid color, while William Walton's musical score stirs and rouses the emotions.

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5/22/2012

The Taming of the Shrew (Broadway Theatre Archive) (1976) Review

The Taming of the Shrew (Broadway Theatre Archive)  (1976)
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Riveting high energy interpretation of one of Shakespeare's more problematic comedies. The director's decision to present this somewhat sexist comedy as an over-the-top commedia dell'ate production was brilliant. Patruchio's use of physical violence to tame his headstrong finacee is somehow made tolerable because all the relationships in this play are embued with violence. And like characters in a Roadrunner cartoon, victims bounce back with vigor and always manage to give as good as they get. The troupe is incredibly in sync with one another, highly athletic, and incredibly gifted at reciting their iambic pentameter flawlessly while being twirled overhead or kicked in the groin. It really has to be seen to be believed. And who knew Marc Singer, the Beastmaster, could act?! In the end, he brings a subtlety to his part that leaves you wondering who's taming whom?
Harold Clurmann's interview with the director is a nice DVD extra.

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5/14/2012

The Reduced Shakespeare Company - The Complete Works of William Shakespeare (Abridged) Review

The Reduced Shakespeare Company - The Complete Works of William Shakespeare (Abridged)
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When the Reduced Shakespeare Company performs , it is a case of three apparently indefatigable actors (Adam Long, Reed Martin, Austin Tichenor) whirlwinding through the plays, some of which are barely mentioned, some of which are treated at greater length--all in 90 minutes. Well, the Good News is that the show is now available from Acorn Media on a VHS. (Note: this video contains material not shown on PBS.)
To cut to the chase, you really have to know your Bard to get all the jokes. Treating "Titus Andronicus" as a cooking class works if you are familiar enough with the plot (the recent movie might help here); and unless you know your English kings from Richard II to Richard III (with all the Henrys in the middle), the football game with a crown as ball will have little meaning. ( I thought the line about cutting Henry VI into three parts was the best in this sketch.)
Possibly the bit that calls for the audience's greatest degree of knowledge and concentration is the resume of a plot that combines all the Shakespearean comedies into a single play (with a very long title). There are plenty of in-jokes and bad puns throughout Act I to demand your fullest attention--and again, few of them work if you do not know the originals.
The first act ends with a little situation in which one of the troupe refuses to do "Hamlet" and flees from the theater. When Act II begins, he has not been brought back and the remaining actor must fill the time with Monty Python-like bad routines. Once back on track, the audience is enlisted to help one of their number (I assume she is not a plant) "feel" the part of Ophelia. The trio's versatility is put to the test at the very end when they repeat the entire Hamlet production quickly, then very quickly, and finally very quickly and backwards!
So all in all, this is a joyous romp for those "in the know" and one that might seem pretty pointless for those who have avoided Shakespeare once school was over. Therefore I must give it 4 stars out of 5 in general, although it deserves 5-plus for those who have stuck with the iambics all these years.
A perfect gift for your English teacher, by the way. Unless you are an English teacher, in which case buy one for yourself.

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Tartuffe (Broadway Theatre Archive) Review

Tartuffe (Broadway Theatre Archive)
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I have come to expect a lot from Broadway Theatre Archive. They save the best, I thought. However, this is defintely not the best version of Tartuffe that I have seen. I first saw it onstage, presented by the Trinity Square Reperatory Company in Providence, Rhode Island. The audience, including me, laughed so much we almost fell out of our seats. But, this version, unfortunately, is boring. If you want to see a really funny version, watch the BBC filmed version of the Royal Shakepeare Company's production of Tartuffe. It's a great laugh!

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5/13/2012

Rime of Ancient Mariner (1975) Review

Rime of Ancient Mariner  (1975)
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Recently, a friend and I were discussing educational and ethical influences when we were growing up in the 1950's versus today.She mentioned Samuel Taylor Coleridge, who, in 1798, wrote The Rime of The Ancient Mariner. Both of us had been required to recite parts of the epic poem in high school and in English Literature courses in college. My friend said, "Its messages even might be called metaphysical within today's context."
We tried reciting it and only remembered bits and pieces. (I have problems remembering Dr. Seuss.)I said I'd get two copies of the poem so each could read it. That was easy enough, but I was extremely surprised to find it had been made into a film. We looked forward to watching the film to see how it had been interpreted. After all, The Rime of the Ancient Mariner isn't exactly light reading. After each had read the poem, we watched the film together.
We considered the film a remarkable achievement, especially considering it was made in the 1970's, before computers, before the so-called "Ken Burns effect," and before special effects too often began compensating for a lack of substance. Particularly noteworthy are the 19th and 20th century illustrations culled from "lesser known artists," such as Willy Pogany, the early Hollywood designer.
The film is narrated by Sir Michael Redgrave, whom had taught the poem when he was a schoolmaster, adding a tone of authority and credibility in remaining true to the poem.
Its mastery is in the layers of subtle messages, conveyed without "instructing," or becoming an oppressive and obvious morality tale. We found it such a refreshing change from today's 'in your face' and 'clobber them over the head' mentality. Most of today's morality messages in film are two-dimensional: extreme violence, murder and mayhem mark the bad. The bad are really, really, bad, and good are super heroes.It is as if human character lacked any nuance. The Rime of The Ancient Mariner is a celebration of the individual, of character, of an appreciation for celebrating all the richness life has to offer, within the larger context of humanity, i.e., man's capacity to give to others.
Proud of ourselves for having found this "unknown" gem, we then learned it had won the top award in its category five out of six times at "name" international film festivals. Another surprise was learning the film's director, Raul daSilva, is a recognized authority on early animation, and authored six award winning books about film.
This film's message is just as relevant today, if not more so, than when Coleridge penned the original epic poem and when Raul daSilva translated it to film. If I still was teaching high school, which I did for five years, I'd grab this one and show it to all my students. There's a level of richness here that naturally leads to discussion about the big and important issues all of us face, whether in 1798, 1978, or today--in fact, as long as humanity has a spiritual component.
Highly recommended.


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Samuel Taylor Coleridge's epic poem is brought to life with an evocative mix of animated and real images which givethis famous poem an exciting new dimension.This visuallyremarkable cinematic work is narrated by Sir Michael Redgrave, who gives an inspired reading of this literary classic. The program is presented in two parts.Part One is a biography of Samuel Taylor Coleridge from his orphaned childhood, through his vain attempts at being a dashing blade in 18th Century London. It also traces his tragic encounter with opium, his brief, ill conceived flight into the army and how his friendship with William and Dorothy Wordsworth inspired him to write "The Rime of the Ancient Mariner. Part Two is a unique visualization of Coleridge's evocative poem that takes us on a strange and lonely voyage where time and space are as limitless as the imagination.

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5/12/2012

Sting - Inside - The Songs of Sacred Love (Jewel Case) (2003) Review

Sting - Inside - The Songs of Sacred Love (Jewel Case) (2003)
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If you're a Sting fan or just a fan of great music, this DVD is for you. I've seen Sting in concert 3 times. This tops anything I've ever heard. Crystal clear picture and sound, insightful interviews (not too long), and priceless music. This DVD has 17 songs on it. And if I had to pick a favorite, I could not. Although, the rendition of Dead Man's Rope almost made me cry (and I'm a grown man) lol. There are also 3 songs I've never heard on this... That Sinking Feeling, All Would Envy, and Like a Beautiful Smile. All good, but the latter being awesome. This is a no brainer... just buy it. Enjoy!

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5/10/2012

Paul Simon - Live at the Tower Theatre (1980) Review

Paul Simon - Live at the Tower Theatre (1980)
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Paul Simon "Live At The Tower Theatre", may be the finest solo Paul Simon concert ever filmed. This is bare bones Simon, with a four piece band, that starred with him in the movie "One Trick Pony". It is actually nice to hear the songs, without the different world music arrangements and caribbean orchestras, that plagued his live shows during the nineties. The band is made up of ex Stuff members Steve Gadd[drums],The late Richard Tee[keyboards and vocals], The late Eric Gale[guitar], and Tony Levin[bass]. These guys crank, and may well have been Paul Simons best band ever assembled. The rockin "Ace In The Hole", is one of several cuts from the much overlooked album 'One Trick Pony", and features Richard Tee sharing vocals with Simon, while pounding his gospel tinged keyboards. Other favorites include, "Late In The Evening", "Fifty Ways To Leave Your Lover", "Me And Julio", and "One Trick Pony", to name a few. The sound and picture quality is very good, considering that the show was recorded in 1980. The only negative, is that the concert is a tad short at 55 minutes, but this is all quality, and Paul Simon never sounded better in concert. Paul Simon along with top session men, Steve Gadd, Eric Gale, Richard Tee and Tony Levin, is not to be missed, if you are a fan of vintage Paul Simon.

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5/03/2012

Faerie Tale Theatre - The Emperor's New Clothes (1985) Review

Faerie Tale Theatre - The Emperor's New Clothes (1985)
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THE EMPEROR'S NEW CLOTHES is an altogether fine entry in the FAERIE TALE THEATRE series.
Alan Arkin and Art Carney stars as the con-artists who fool a vain and ruthless Emperor (Dick Shawn) into believing that they can create the most exquisite of clothes that are invisible to those who are foolish or unworthy. Legendary British songstress Georgia Brown co-stars as a wise innkeeper.


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5/02/2012

Julius Caesar Review

Julius Caesar
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Much better than the earlier Julius Caesar, which starred Marlon Brando as Mark Antony and James Mason as Brutus. In this version, Jason Robards as Brutus is admittedly an embarrassment, but the rest of the cast is quite strong. The delivery of Antony's funeral oration by Charlton Heston is brilliant, powerful, well-paced, the dramatic high point of the movie. Richard Johnson as Cassius, John Gielgud as Caesar, Robert Vaughn as Casca and Diana Rigg as Portia are fine actors, with full dramatic presence, at home in Shakespeare's language. Brief parts, like the soothsayer's and the cobbler's, are memorably played. The screenplay omits two short passages that are important to the plot: (1) Cassius' avowal in the first act, after his attempt to persuade Brutus to oppose Caesar, that if their positions were reversed and he, Cassius, stood as well with Caesar as Brutus does and Brutus made a comparable appeal to him, he would certainly not listen. (2) Immediately after the assassination, a promise by Brutus to Antony's servant of safe conduct for Antony, who thus knows when he comes to the Capitol and weeps over Caesar's body, challenging the conspirators to kill him also, that he is in no danger of their doing so.

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5/01/2012

Faerie Tale Theatre - Rapunzel (1983) Review

Faerie Tale Theatre - Rapunzel  (1983)
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Shelley Duvall, creator and producer of the FAERIE TALE THEATRE series, takes centre stage in the lead role of RAPUNZEL, one of the best entries in the series.
Gena Rowlands is deliciously evil as the jealous old witch who takes the young girl from her parents and imprisons her in an impossibly tall tower in the middle of an enchanted forest.
Jeff Bridges is great as the dashing Prince who charms Rapunzel and plans to elope with her. Their scenes together are very beautiful, and their chemistry is evident for all to see.
Shelley Duvall and Jeff Bridges also portray Rapunzel's parents at the beginning of the tale, which is a nice touch.
Filled with dazzling costumes and an intelligent script, RAPUNZEL is worth a look, as are all the other great FAERIE TALE THEATRE's.


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4/26/2012

Eugene O'Neill's The Iceman Cometh (Broadway Theatre Archive) (1960) Review

Eugene O'Neill's The Iceman Cometh (Broadway Theatre Archive) (1960)
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The chance to see Jason Robards portray his signature role as "Hickey" makes this video well worth the price. This performance of the complete "Iceman Cometh" was originally aired on CBS in 1962, as a live two-part performance, and the video and audio quality suffer from the transferral, but what remains is an extremely well-directed version of this play, which preserves Robards in the role that first brought him acclaim. The supporting cast in generaly excellent, with standout performances from James Broderick and a very young Robert Redford. This version of the play makes an interesting contrast to the 1973 film version, directed by John Frankenheimer, which features a decent, though limted, Lee Marvin as Hickey, but which also displays two incredible actors, Robert Ryan as Larry, and Frederick March as Harry Hope, who are so wonderful in their final screen roles that they overshadow the rest of the characters, Hickey included. One can only lament the director's choice not to cast Robards, thus missing the opportunity to unite three of the greatest O'Neill interpreters in these three splendid roles. Oh well.......

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ICEMAN COMETH - DVD Movie

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Eugene Onegin Review

Eugene Onegin
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This perfomance of Onegin is one of the most musical I have seen over the past 30 years. I do remember great performances at the Metropolitan opera with Zylis-Gara and Gedda and a great performance by the Bolshoi when they first came to the Met about 30 years ago. The beauty of this performance however is the total perfection of ensemble staging, singing, acting and conducting all within beautiful sets. The individual singers have excellent techniques, unforced beautiful voices and a true feeling for the nuances of the opera which is conducted to perfection by an unlisted conductor who projects his great love and appreciation of the score. The performers are ideally cast and are embodiments of their roles. However, it is the high quality of the singing and interpretations of every singer that make this such a satisfactory performance. Of course honors go to the beautiful Tatanya whose transformation from the innocent young girl of the letter scene to the mature torn woman of the final scene is reflected in her voice and acting. The same can be said for the Onegin whose arrogance at the beginning to the defeated and tragic figure of the final scene moves the opera to its inevitable conclusion. The Lensky sings and acts the role of the young poet with an inner passion that illuminates the unfolding tragedy;the famous aria is movingly delivered. One is struck by the high quality of artistry of the other members of cast--There is not a wobbly or strained voice. The sets are traditional and beautiful reflecting the lyricism of the text and opera. Unfortunately the modern settings and stagings of Onegin at the Metropolitan and Kirov are not of the same caliber as this performance--in fact they are to be avoided. The only complaint that I have is that this is a 1984 taped live performance, and the technology is not up to 2006 standards--However, the innate beauty of every aspect of this production overides any technical limitations. Onegin is captured as the composer may have envisioned it in his mind as he wrote this glorious music. A gold standard has been set by this performance.

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4/23/2012

Faerie Tale Theatre - Cinderella (1985) Review

Faerie Tale Theatre - Cinderella  (1985)
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As an avid reader of fairy tales and a collector of Cinderella and Cinderella spin-off movies, I must say this one has won its place as my all-time favorite. Matthew Broderick and Jennifer Beals make the perfect on-screen couple, and Jean Stapleton is absolutely hilarious as a sort of "countrified" fairy godmother. This movie goes beyond a childhood tale and provides entertainment that everyone can enjoy, regardless of age. It's about time this wonderful movie was put on DVD. If you like this one, you might try some of the other Fairy Tale Theatre movies, as they all incorporate humorous twists to traditional fairy tales. I especially enjoyed watching The Dancing Princesses, but what can I say, I still enjoy Cinderella the best. Also, if you enjoy Matthew Broderick's performance, you might like seeing him in Ladyhawke, where he puts in an absolutely hilarious performance as a pickpocket named Mouse. Jean Stapleton also plays in Fairy Tale Theatre's Jack and the Beanstalk as the giant's wife. Her performance in that movie is almost as good as her performance in Cinderella, and the movie is well worth watching. And finally, if you enjoy humorous versions of fairy tales, I recommend another video: Into the Woods. It is a blending of fairy tales in a two-part stage play, but the Cinderella and Little Red Riding Hood scenes are hilarious.

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