Word: acrobats
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Dates: during 1980-1989
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Gravity Boots were invented in 1965 by Dr. Robert Martin, 73, Bryce Martin's father. An orthopedic surgeon and onetime vaudeville acrobat, the elder Martin developed the boots to relieve the stress on spines and joints caused by standing and sitting. "I always told my colleagues that we'd all have better posture and no back problems if we could walk around on the ceiling," he says. "It was just a matter of figuring...
...their second week of rehearsal, the chosen Shubert Alley cats are getting down to business: learning to feel feline. Says Steven Gelfer, 33, one of eight acrobat-dancers in the troupe: "We spent hours on our hands and knees-moving about, resting, cleaning ourselves. Now we have to take what we learned from being on all fours and transfer it to two legs. Just when we were getting comfortable on our knees!" Ken Page, 28, who will play the patriarchal Old Deuteronomy, reports that "Trevor has won our trust, and we've opened...
...cadences of Tom Waits' bluesy songs 'performed by Waits and Crystal Gayle), these restless lovers find spirits to incarnate their once-in-a-nighttime, winnertake-all hopes. For Frannie, it is Ray (Raul Julia), a latino crooner. For Hank, it is Leila (Nastassia Kinski), a circus acrobat. Hank's dream girl is far enough above reality to convince him that the atmosphere is too rarefied, and he returns to earth to search again for someone he can live with as well as love - Frannie...
Enter the handsome aviator (Peter Coffield) and his passenger, the daredevil Polish acrobat Lina Szczepanowska (Patricia Elliott), Shaw's totally liberated New Woman. The third unexpected guest comes wielding a revolver. Gunner (Anthony Heald) proves to be Tarleton's illegitimate son, bent on revenge. This gives Shaw a chance to play the dialectical game of cat-and-mouse. Inevitably, Hypatia gets the aviator to chase her till she catches him. "Papa, buy the brute for me," she purrs to Tarleton. Papa does...
...charming lead might have compensated for much, but Peter Ginna is a lobotomized clown, a colorless mime, a plodding acrobat, barely competent without, dead within--a black hole. He is matched by John Cole, whose readings conjure up the printed page, and by Melissa Franklin in a grating, one-note performance. But there is very good work by Madora Thomson, whose fluent, hammy gestures and Bryn Mawr accent are both funny and seductive; by Christopher Randolph, an endearing, intelligent, convincingly lived-in old Pantalone, fresh vet familiar; and by the director, whose seemingly effortless, unctuous gigolo is a model...