Showing posts with label masterclass theater. Show all posts
Showing posts with label masterclass theater. Show all posts

5/31/2012

Waiting for Godot Review

Waiting for Godot
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"Nothing happens, nobody comes, nobody goes, it's awful!". That phrase, said by one of the main characters of "Waiting for Godot", somehow sums up the whole plot of this short tragicomedy in two acts. Strange??. You can bet on that!!!. So much that a well-known Irish critic said of it "nothing happens, twice".
The play starts with two men, Vladimir and Estragon, sitting on a lonely road. They are both waiting for Godot. They don't know why they are waiting for him, but they think that his arrival will change things for the better. The problem is that he doesn't come, although a kid does so and says Godot will eventually arrive. Pozzo and his servant Lucky, two other characters that pass by while our protagonists are waiting for Godot, add another bizarre touch to an already surreal story, in which nothing seems to happen and discussions between the characters don't make much sense.
However, maybe that is exactly the point that Samuel Beckett (1906-1989) wanted to make. He was one of the most accomplished exponents of the "Theatre of the Absurd", that wanted to highlight the lack of purpose and meaning in an universe without God. Does Godot, the person that Vladimir and Estragon endlessly wait, symbolize God?. According to an irascible Beckett, when hard-pressed to answer that question, "If I knew who Godot was, I would have said so in the play." So, we don't know. The result is a highly unusual play that poses many questions, but doesn't answer them.
Ripe with symbolism, "Waiting for Godot" is a play more or less open to different interpretations. Why more or less open?. Well, because in order to have an interpretation of your own, you have to finish the play, and that is something that not all readers can do. "Waiting for Godot" is neither too long nor too difficult, but it shows a lack of action and purpose in the characters that is likely to annoy many before they reach the final pages, leading them to abandon the book in a hurry. That is specially true if the reader is a student who thinks he is being barbarously tortured by a hateful teacher who told him to write a paper on "Waiting for Godot" :)
My advice, for what it is worth, is that you should persist in reading it. If it puts you to sleep, try reading it aloud with some friends, and discuss with them the implications of what happens with the characters. This play might not be thoroughly engaging, but it changed theatre and the possibilities opened before it forever. In a way, it provoked a blood-less revolution, and because of that it deserves at least a bit of our attention.
Belen Alcat


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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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5/22/2012

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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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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Arkady Leokum's Enemies (Broadway Theatre Archive) Review

Arkady Leokum's Enemies (Broadway Theatre Archive)
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Enemies is a wonderful two character, one-act, 45 minute play from the Kultur Broadway Theatre Archives. The setting is a small restaurant in the Catskills, 1971. The two characters, well into their senior years have encountered one another for five years. Gittleman (Sam Jaffe) is a waiter who has to put up with the demanding, harsh and critical insults of customer Miller (Ned Glass), who makes his frequent visit, as he puts it, to eat before the riff raff comes in.
For five years, Miller criticizes the food, the hygiene, the coffee, the menu, the establishment and the final blow is to refer to Gittleman as a lowly waiter who Miller has had to train! Clearly Gittleman and Miller are not friends. Miller is a widowed man has merely enjoyed the pleasures of life that "discount hours" have brought him, clearly a lonely and less expensive existence. But he flaunts a different lifestyle filled with success and happiness. Gittleman is a hard-working family man.
It is the turn of events that makes this play a gem! The two veteran actors have starred in television and movies for years. Ned Glass is known also for his nasal voice while Sam Jaffe for his wild white hair. The two actors both died in 1984. Arkady Leokum is popular for his Tell Me Why: Answers to Hundreds of Questions Children Ask. If you care to see another great play by him, try Neighbors (Broadway Theatre Archive) ....Rizzo


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4/22/2012

Incident at Vichy (Broadway Theatre Archive) (1973) Review

Incident at Vichy (Broadway Theatre Archive)  (1973)
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Set in a holding room Vichy, France, in 1942, this powerful play by Arthur Miller introduces nine men who have been picked up on suspicion that they are Jews or Jewish sympathizers. Waiting to be questioned are an actor, a waiter, a businessman, a psychoanalyst, a Marxist railroad worker, a gypsy, an ancient Hasid, a fourteen-year-old boy, and an Austrian prince. As they talk and begin to share bits of information, Miller examines the tendency of ordinary men to become immobilized when faced with "an atrocity...that is inconceivable," to refuse to believe that such behavior can possibly happen in a civilized world. At the same time, he also examines those others, the Nazis and their collaborators in France, who serve an ideology, not mankind, those who subordinate themselves so completely to an abstract concept that they believe "there are no persons anymore."
Directed by Stacy Keach, who also wrote the background music, the production features a talented cast, including Rene Auberjonois as the actor, Allen Garfield as the panicked and fatalistic artist, and Andrew Robinson as the German major who has second thoughts about his role. Harris Yulin shines in the very demanding and crucial role of the psychoanalyst Leduc, and his confrontation with Richard Jordan, as the Austrian prince who has failed to act when he had the chance, is heart-stopping. The external action takes place with only one set and virtually no props, focusing the audience's attention on the characters' intense psychological crises, through which Miller examines the tendency of men to believe that the world is essentially rational. Gradually, the truth about the waiting train and its destination emerges, and the sense of horror becomes palpable.
As the men, one by one, disappear from the set, the drama focuses on the psychoanalyst and the Austrian prince, one Jewish and one Christian, one of whom wants desperately to live, and the other of whom has already attempted suicide. Beautifully paced, with a very moving climax, the play is an unusually sophisticated treatment of the Nazi horrors. Miller does not see events purely in black and white, showing instead that everyone creates his own reality to keep from accepting the unthinkable. Written in 1964, while Miller was representing the New York Herald Tribune at the Frankfurt war crimes trials of officials from Auschwitz, this play is Miller's creative reaction to the atrocities he has heard first-hand--and one of his most powerful plays. Mary Whipple


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Item Name: Incident at Vichy (Broadway Theatre Archive); Studio:Kultur Video

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4/05/2012

OT:OUR TOWN. A Famous American Play in an Infamous American Town Review

OT:OUR TOWN. A Famous American Play in an Infamous American Town
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THis documentary (and I hate to use that word, as it sounds so dreary) is set in a high school in a particularly awful Southern California community -- Compton. The only good thing about the school is the basketball team (one of the players goes directly to the Chicago Bulls after graduation) and the students tend to get pregnant (the girls) or get shot (the boys). A couple of idealistic teachers decide that it's time to try putting on a play -- something that hasn't happened in ages (if at all) at this high school. They pick Our Town, which is perhaps an odd choice given how middle America Our Town is, and how -- diverse -- the students at Dominguez H.S. in Compton are (Hispanic and African American). The students think a play sounds like fun but then they think they don't like the play and what if no-one comes to see them, etc. The teachers have trouble with students coming to rehearsal and memorizing their lines. The high school has no stage (great gym, however).
I won't tell you how the play turns out -- I was concerned myself the closer they got to opening day and couldn't imagine what it was like for the teachers.
I wish movies like this were more widely distributed. For one thing, getting to know the student actors in this movie helped you see the real diversity in Compton -- how different but real each student was, how in some ways the stereotype was true (violence is a big problem in Compton and the students aren't self-disciplined and bring quite a lot of baggage to class) and yet they have potential, talent, and their own stories to tell.
I highly recommend this movie.

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4/04/2012

The Journey of the Fifth Horse (Broadway Theatre Archive) (1966) Review

The Journey of the Fifth Horse (Broadway Theatre Archive)  (1966)
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Winner of an Obie Award in 1966 for his role as Zoditch in this play by Ronald Ribman, Dustin Hoffman reprises his role here in his first television appearance, an adaptation for NET Playhouse, directed by Larry Arrick. Hoffman is the neurasthenic "first reader" of a small publishing house in Petersburg, Russia, at the turn of the century. Speaking with a high-pitched, nasal whine and with posture resembling a crane--shoulders stooped, head forward, stomach protruding--Zoditch/Hoffman is "an interruption in everyone's conversation," a man who has no friends, no ability to relax, no lady-love, and no promise for the future.
When a housekeeper (fussily played by Charlotte Rae) brings him the diary of Nicolai Chulkaturin, which was left to her when he died, Zoditch at first rejects it but is ordered to read it at home. Chulkaturin (wonderfully played by Michael Tolan), a young man who has just died of tuberculosis, emerges from the pages of the diary and soon reveals that he, too, believes himself to be the equivalent of a "fifth horse," a superfluous addition to the coach of life. When, unexpectedly, Chulkaturin meets a young woman with whom he falls in love (Susan Anspach), his life changes, until a captain in the army sweeps her off her feet.
As the action moves back and forth between the lives of Zoditch and Chulkaturin, the reader observes innumerable parallels between them. In many ways Chulkaturin is what Zoditch wishes he could be--tall, handsome, and in love. Since Anspach and several minor characters plays dual roles both in Chulkaturin's story and in Zoditch's life, the idea of Chulkaturin as Zoditch's alterego expands.
Adapted from a story by Ivan Turgenev, the play offers a bleak reality and, in its conclusion, dark humor, which puts Zoditch's yearnings and false hopes into perspective. Though Hoffman won the Obie, Michael Tolan's acting is equally good--more subtle and less one-dimensional. Susan Anspach is both ingenuous and sexy in her two roles, and Catherine Goffigan as Zoditch's landlady is a scene stealer and wonderful foil for Zoditch. Beautifully produced and movingly acted, the play brings to life turn of the century Russian values and an ineffective little man who feels like the "fifth horse." Mary Whipple


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The trailblazing genius that is Dustin Hoffman is hugely apparent in this, his first starring role on television. Originally produced Off-Broadway, Dustin Hoffman recreates his Obie Award-winning portrayal of Zoditch, a lonely, minor functionary in a publishing house. "Towering performances by Dustin Hoffman and Michael Tolan." --The New York Times. With Charlotte Rae, Michael Nolan, Susan Anspach, and William H. Bassett.

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3/27/2012

The Ceremony of Innocence (Broadway Theatre Archive) (1970) Review

The Ceremony of Innocence (Broadway Theatre Archive)  (1970)
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Here's another fine installment from the Broadway Theatre Archive. As usual, there are no extras on the disc, but in this case, the feature more than makes up for it.
"The Ceremony of Innocence," originally a play by Ronald Ribman, is presented here in a 1972 recording. There are a few liberties taken to adjust to the medium of television (such as red-tinted snippets edited in for effect), but nothing that takes away from the incredible drama protrayed by the cast and production crew.
Richard Kiley plays King Ethelred of England, circa the 11th Century. Ethelred is a surprisingly progressive king. He wants to bring education, law, medicine, and science to his kingdom. He even commissions a famous explorer who has plans to sail the great "Western Ocean" (the Atlantic) in search of distant lands. Ethelred knows that only peace can bring prosperity to England, but no one else seems to agree with his point of view. Even his most trusted advisor quails at the idea of giving up war for peace.
Surrounded by enemies and bitter, scheming advisors, the king's plan to make peace with the fearsome King of Denmark (appearing briefly, played by Ernest Graves), is constantly imperiled. Ultimately confining himself to a monastery seeking some kind of solace, Ethelred is haunted by the visions of violence and bloodshed that surrounds him, his family, and his kingdom. Meanwhile, the enraged Danish king is about to attack, while Ethelred's frustrated advisors demand action. Ethelred is obviously paying the price for being born centuries before his time, as one by one his dreams are sabotaged by the overwhelming and painful tide of events he is forced to face.
The photography is first class for videotape, the medium used to record the play. The lighting is excellent, as are the rough, spartan sets. Even some location footage, used where appropriate, raises the quality of the play far above a standard presentation.
Excellent drama for historical study, and to introduce younger students to this period in English history. There are a sprinkling of curse words in the play, and some minor television bloodshed, but nothing too objectionable for today's teen viewers to see.
When all is said and done, you'll be keeping this disc.

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3/22/2012

Cyrano de Bergerac (Broadway Theatre Archive) Review

Cyrano de Bergerac (Broadway Theatre Archive)
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I actually saw this version on TV back in the '70's and, at that time, I was astounded by Donat's performance. He is so natural, so believable, and so grand. Cyrano de Bergerac is my favorite play, and the director and actors have captured the beautiful spirit of Rostand's work. I have taught this play in high schools over the years and used other fine film versions as part of the class, but I always wished I could find a copy of the Donat version. Now I have. It was worth waiting for.

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3/17/2012

Twelfth Night (ATV British television production) (2008) Review

Twelfth Night (ATV British television production) (2008)
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I've been waiting for years for a DVD release of this fine staging of Shakespeare's gender-bending comedy. I first saw this production on A&E cable in the 1980s and enjoyed it tremendously.
Joan Plowright is, by far, my favorite Viola/Cesario. She's convincing in both roles (and, compared to many other Violas, you can believe she might pass as a teenage boy). Plowright is equally impressive in the final act, which requires her to add still more subtleties to her performance.
In the broader comedy roles, it's hard to beat a production that includes Alec Guinness, Ralph Richardson and Tommy Steele. (Steele's manic persona, which is not for all tastes, serves him very well here as Feste.)
The outstanding script adaptation abridges the play to about 100 minutes. The decision to reverse the order of scenes 1 and 2 was ingenious: it makes for a more dramatic opening and allows a type of exposition that television can do well but which could not have been done easily on Shakespeare's stage.
The video itself is slightly grainy (presumably a function of its age), and some minor glitches in the quad tape were not corrected. But these are trifles, and the DVD is very enjoyable.
Be aware that this is a stage-like television production: a play produced on videotape. If you want something more cinematic, Trevor Nunn's 1996 film version is very good.

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3/15/2012

Cyrano De Bergerac (translation by Anthony Burgess) (1985) Review

Cyrano De Bergerac (translation by Anthony Burgess)  (1985)
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This video is based on the Royal Shakespeare Company's stage production of Cyrano that ran in London, New York and Washington DC 1983-1985. I saw the London and New York productions each several times, and, as phenomenal as they were, the video is in many ways better, if only because this version is more permanent.
I love this play. I've seen many renditions and adaptations of Cyrano over the years, and this one is by far the best I've seen. I'm a huge fan of Sir Derek Jacobi's work, and this rendition of Cyrano showcases his work at its pinnacle. Sinead Cusack is glorious in this production as the love-struck Roxane, John Carlisle is just dark enough as DeGuiche, Pete Postlethwaite is over the top as Cyrano's sidekick, Rageneau, Tom Mannion intelligently provides a beautiful and downright stupid-sounding Christian. The rest of the cast is equally fine (there just isn't time enough to list them all: sorry, Cast, you're all terrific). But of course this show is about Cyrano and Sir Derek keeps him and his large but not obscene proboscis in the center of the viewer's attention from Cyrano's first chandelier-swinging entrance to his bittersweet death in the nunnery yard.
If you can find it, get this video, watch it and drool. Why the distribution company let it go OP is beyond me.

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3/09/2012

Sty of the Blind Pig (Broadway Theatre Archive) Review

Sty of the Blind Pig (Broadway Theatre Archive)
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This 1974 production by the Negro Ensemble is a powerful play with emotional characters, gospel music, and unrequited love. The setting is the Warren apartment bound for demolition, on the southside of Chicago. It is occupied by an elderly mother, Weedie Warren, and her spinster daughter Alberta.
Visiting periodically is Weedie's brother, Uncle Doc, played by Scatman Crothers, a drinker, a smooth dresser and he loves to play the numbers. Alberta is also a drinker, pill popper, frustrated, and has been driven up the wall by her overbearing and meddling mother, who calls Alberta a whiskey head.
While mother goes back to the south for a convocation, she observes the civil rights movements and its uprising, something not quite in Chicago yet. Meanwhile, a street singer named Blind Jordan wanders the neighborhood, looking for a woman he knew. Alberta invites him in and soon befriends him.
Witness a powerful performance, possibly 10-12 minute soliloquy by Alberta as she recites her most memorable obituary she wrote for a love she craved, Emmanuel Fisher. Then, she displays the sexual frustration reliving her angst at his funeral. This performance by veteran actor Mary Alice is worth the watch.
The play's title Sty of the Blind Pig is in actuality a house of ill repute that Blind Jordan tells about, where women, whiskey and food were sold. We also learn more of Weedie's past.
Because of Weedie's faith, gospel music is often heard in the background, such as Precious Lord, Farther Along, and Amazing Grace. The actors have all had extensive television experience. This is a wonderful play. Writer Phillip Hayes Dean has also written Freeman (Broadway Theatre Archive), where a black man struggles to break the stigma of being black in the 70s. .....Rizzo


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3/06/2012

Lewis Carroll's Alice in Wonderland (Broadway Theatre Archive) (1983) Review

Lewis Carroll's Alice in Wonderland (Broadway Theatre Archive) (1983)
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Fantastic television performance of the Eva LeGallienne adaptation of Lewis Carroll's ALICE IN WONDERLAND, featuring the 1982 Broadway revival staging by director Kirk Browning. Richard Addinsell's lovely score highlights the production with fine performances all around, headed by Kate Burton who gives Alice a sassy, modern sensibility. LeGallienne's version (which premiered in 1933 and was first revived in 1947) throws the stories and characters of "Wonderland" and "Looking Glass" together, creating a veritable kaleidoscope of colour and whimsy.
The cast is truly impressive including - Colleen Dewhurst's manic and imposing Red Queen; the befuddled White Queen of Maureen Stapleton; Nathan Lane plays the waterlogged Mouse as a tango-dancing lothario; Kaye Ballard as the baby-beating Duchess; Geoffrey Holder as a sinuous, seductive Cheshire Cat; and Donald O'Connor as the soft-shoe Mock Turtle.
Perhaps most poignant is Richard Burton, playing the melancholy White Knight. His scene with real-life daughter Kate is very touching, and his performance of the White Knight's bittersweet "A-Sittin' on a Gate", one of the truly great songs in Addinsell's score, is a highpoint of the whole production. The actual story of Alice is bookended by a nervous young actress about to star in her very first leading role. The saga of Alice herself provides a nice counterpoint as Lewis Carroll's heroine also must face her fears if she can ever return home.
Truly a production to savour and a rare treat for all theatre and Lewis Carroll admirers.

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From the elaborate Broadway revival of the 1932 Eva Le Gallienne/Florida Friebus production comes a whimsical retelling of the Lewis Carroll classic. In director Kirk Browning's enchanting adaptation, Alice's adventure in the land of fantasy is presented within a contemporary framework. An all-star ensemble cast--including Richard Burton and his daughter Kate--makes this a stellar version of a truly timeless tale and a great theatre treat for young and old alike.

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Death of a Salesman & Private Conversations (1985) Review

Death of a Salesman and Private Conversations  (1985)
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I was glad to find this DVD just shortly after reading the play. While I enjoyed reading it very much, I found the play to be very confusing. Just from the text alone it was hard to tell what was real and what wasn't. Seeing the film version of this triumphant play really helped a lot. "Death of a Salesman" is a sad and tragic drama that emotionally involves you from start to finish.
Willy Loman is a tired and heart-broken salesman who no longer lives in the world of reality. Instead, he is trapped in his world of delusions. Each day that passes by seems to be worse and worse for Willy. He spends way too much of his time in the past when he needs to be focusing on the future. His wife and two sons have no idea what they should do for him as they know that he is heading towards disaster in this unforgettable drama.
Like I said, to actually see this really made me appreciate the play more than just reading it from the text. It can get confusing when you only have the words, but when you see it performed it all comes together and make sense. The acting is terrific. Dustin Hoffman really does an outstanding job of playing Willy Loman. Not only does he just "act" the part out, he "becomes" Loman. I admit that I had my doubts at first, because I didn't see him playing the part. My doubts quickly fled from my mind after the first 10 minutes or so. Everybody else is also terrific as well. (Wow, look how young John Malkovitch looks!) I think the movie does a fine job doing Arthur Miller's play justice.
The DVD is pretty neat as well. The picture quality is good, considering the fact that it is an old movie. The DVD also includes a feature length documentary behind the movie, which is really entertaining, and a still gallery. While it may seem like this DVD doesn't have a lot to offer, the documentary really makes it worth-while.
"Death of a Salesman" is a powerhouse drama that hooks you from start to finish. Reading it is one thing, but to actually see it makes it much more enjoyable. If you just read the play from the text it can be pretty confusing at points. If you're looking for a great dramatic movie with great acting and writing, then this is something you should really think about checking out.

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Willy Loman has spent his entire life believing he and his family are bound for greatness. Struggling day to day as a traveling salesman, Willy begins to lose touch with reality and drifts away into the past. Meanwhile his family, including wife Linda and sons Biff and Happy, attempts to cope with Willy's self-destruction and the still-lingering ghosts of the past. Arthur Miller's timeless Pulitzer Prize-winning play is brought to the screen with a powerhouse performance by Academy Award-winner Dustin Hoffman, who earned Emmy and Golden Globe Awards for this role. The stellar supporting cast features Kate Reid, Charles Durning, Stephen Lang, and in his first breakout role, John Malkovich as Biff, all guided by internationally-acclaimed director Volker Schlondorff (The Tin Drum) and a haunting score by legendary composer Alex North (Spartacus).

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