Word: broadway
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Dates: during 1980-1989
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...past month, after classes at Princeton, Brooke Shields has been slipping into New York City to rehearse, and last week she made her off- Broadway debut in Marguerite Duras' 1977 play The Eden Cinema. The setting is French Indochina during the 1930s, and Shields, 20, portrays Suzanne, a fetching 16-year-old who is courted by a rich plantation owner. Director Francoise Kourilsky approached her for the part last year. Shields, who is majoring in French literature and had studied Duras' work at school, readily accepted her first professional nonmovie role. "She is a very strong actress," says Kourilsky...
...bygone times, plenty of housebound wives and mothers found ways to control their destinies, often while cannily seeming to submit to the menfolk. That is what happens with mounting clarity and power in Precious Sons, a rousing, historically apt and splendidly played family comedy that opened on Broadway last week...
Reddin is bringing off a rare double: while his words resound in Rum and Coke, he is onstage 20 blocks away in a manic revival of the 1930s farce Room Service, a portrait of pre-Broadway opening desperation. Reddin winningly playswhat else?--the playwright, a geeky kid from Oswego who eventually has to "die" for an hour and a half so that his show might live. Director Alan Arkin seems too conscious that Room Service was adapted as a Marx Brothers movie vehicle. Mark Hamill, the fresh-faced Luke Skywalker of the Star Wars series, is mustached and growly...
That perennial invalid, Broadway, is faring better this season but hardly thriving. The theater year started more than nine months ago, with the cutoff for last spring's Tony Awards. It has produced only two new American plays that are still running. Add two London imports and three revivals--one of which, Blood Knot, closes this week--and there you have it: the total of non- musical survivors on the Great Gray Way. Why, then, does New York City seem abuzz with theatrical vitality? In large part because Off Broadway is providing a satisfying mix of star turns, ensemble work...
...wages. One of them is Steppenwolf, which used to pay the average member about $3,000 a year and which has upped the figure to a still uncomfortable $10,000 or so. That kind of sacrifice has afforded Chicago a stage vitality and inventiveness rivaling the best of off-Broadway. The challenge is to sustain the freedom to experiment, and fail, while ensuring that artists as well as audiences can reap the rewards...