Word: broadway
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Dates: during 1960-1969
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...Broadway...
...tradition of O'Casey and O'Neill, Playwright Frank Gilroy explored his own origins in the bleak, painfully honest drama, The Subject Was Roses. This highly successful film version shows why it was both a popular and a critical success on Broadway and why it went on to win the 1965 Pulitzer Prize. Though Gilroy's craftsmanship is maladroit, he has a musician's ear for the lilt and scrape of Irish-American dialogue, and an unblinking eye that sees his characters whole, in the light of common...
...performances by Albertson and Sheen are transferred from Broadway with every nuance intact. As the mother, Patricia Neal makes her first appearance in films since her paralytic stroke in 1965. It would be worth waiting a decade for. She retains her vast resources of energy and intelligence. Yet she has altered in appearance and style. Her face is still lovely, but it has assumed a melancholy dignity, no longer fresh, but not quite old, like a fine linen tablecloth preserved for special occasions. Her acting is neither shrewd underplaying nor is it larger than life; it is exactly life-sized...
ZORBA, the new musical stopping in Boston on its way to New York, deals a final blow to the Broadway myth that David Merrick is its greatest showman. Harold Prince, not the producer of the all-black Hello, Dolly, deserves the title, and after Zorba, no one will be able to deny...
...woven just about all of the show's components into his unifying conception. Ronald Field's joyous choreography is so tightly linked to the staging, that it's hard to believe Prince did not devise the dances himself. Don Walker's orchestrations, a precise blend of Greek and Broadway instrumentation, flood the theatre with frenzies of rhythm, adding as much to the atmosphere as Boris Aronson's simplistically beautiful sets...