Word: acted
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Dates: during 1970-1979
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...could be argued that Williams landed in the right role in the right time slot (8 p.m., when children control the nation's sets). But Williams is not so much lucky as talented. In his stand-up nightclub act, which he does for free, to keep in touch with live audiences and to try out new material, he displays a range that encompasses Jonathan Winters, Danny Kaye, Steve Martin and Daffy Duck. Though always wearing the same costume-baggy pants, loud shirts, suspenders-he whips in and out of a multitude of comic characterizations. He can mimic the cadences...
...Williams returned to San Francisco, where he hung around the city's small comedy clubs. While tending bar, he met a dancer named Valerie Valardi, whom he married last June. Valerie urged him to try the clubs in Los Angeles; she helped catalogue his material and shape his act. Once Williams had played Los Angeles' Comedy Store and Improvisation, he began to get TV work...
Indeed Lulu, the tragedy of a dancer whose almost mythic embodiment of the erotic principle wreaks universal destruction and death, seemed to be the one modern opera that had everything: electrifying theatricality, sex, moral seriousness, virtuoso scoring-everything, that is, except a third act. When he died in 1935, Berg had completed the third act particella, or short score; but he left the orchestration incomplete and the act was never published. Ever since, opera companies have had to present Lulu in two acts, with a makeshift third act tacked...
...Paris, the opera world's most tantalizing other shoe has finally dropped. The Paris Opera presented the first-ever full-length Lulu, third act and all. To Rolf Liebermann, the Paris Opéra's general director, it was the culmination of a 30-year quest. To Conductor Pierre Boulez, it was belated "justice to a work that has been mutilated." To the black-tie audience of statesmen, artistic leaders, 200 music critics and assorted opera buffs, it was a triumph and, to some, a perplexity...
Previous productions broke off after Lulu, imprisoned for murdering Schon, escapes and takes up a fugitive life with Schon's son and other admirers. The third act reveals that Berg rounded off the story with telling symmetry. Lulu descends through a succession of men and social strata that mirror those she rose through in the first two acts. Accordingly, Berg's music for her decline is shot through with echoes, correspondences and recapitulations of earlier moments. When Lulu is reduced to streetwalking in London, Berg called for her three clients to be played by the same singers...