Word: broadway
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Dates: during 1980-1989
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Some of the fierce vitality of the sexual encounters in Paley's earlier stories have given way to more nostalgic couplings. In "Listening," a middle-aged woman driving south on Broadway sees a pedestrian whose "nice unimportant clothes seemed to be merely a shelter for the naked male person." She thinks, "Oh, man, in the very center of your life, still fitting your skin so nicely . . . why have you slipped out of my sentimental and carnal grasp?" Turning to a woman friend in the car, she says: "He's nice, isn't he?" The reply is vintage Paley: "I suppose...
...flaw of self-absorption. When Arnold stingingly accuses Eugene of being "a witness," devoid of passion and commitment, the insight may make an audience reconsider its feelings about the character and also its author, who appears to be musing self-critically about three decades of often bland ingratiation on Broadway, in Hollywood...
...stands with the most telling statements of the World War II generation, or any generation that loses many of its young in battle, about how much of life is luck. After a fall and winter of disappointment, Biloxi Blues ranks as the best new American play of the Broadway season...
...American stage community cherishes a persistent dream: the creation of an equivalent to Britain's National Theater or Royal Shakespeare Company. New plays would be mounted and the classics reconsidered in an environment sheltered from the hit-or-extinction extremities of Broadway. Over the decades attempts have been made, with varying degrees of success, at New York City's Lincoln Center and Public Theater and at regional companies including the Guthrie in Minneapolis, the Yale Repertory Theater and Robert Brustein's American Repertory Theater at Harvard. Last week the newest candidate took center stage. The American National Theater, headed...
They came from Ireland and Iceland, Italy and India, Bulgaria and Ghana and Egypt and Brazil. The 350 emissaries represented newspapers and magazines, theaters and festivals, production companies, agencies and television networks. They saw a dozen new or unknown plays in three days in late March, not on Broadway or in London's West End, but in Louisville. Lately, that modest Kentucky city has become a part-time international theater capital, the site of perhaps the most important annual showcase for emerging American playwrights. In the nine years of the Humana Festival at Actors Theater of Louisville, many works have...