Word: broadway
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Dates: during 1980-1989
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DIED. Ina Claire, 95, actress of insouciant charm and wit who graced vaudeville in the pre-World War I era, silent films and later talkies, but mostly the Broadway stage, where she specialized from 1917 to 1954 in the highly varnished comedies of bad manners and good breeding (The Last of Mrs. Cheyney, 1925; Biography, 1932; Ode to Liberty, 1934) in which the characters misbehave in venomous, perfectly timed epigrams; in San Francisco...
...into that commercial film cycle that says that every time a film comes out it has to be hailed as an event," he says. "All the foreign filmmakers I loved, including Bergman, just turned out their pictures." He received an Oscar nomination for directing last year's Broadway Danny Rose ("At first I thought it was a typo"), but he won't be waiting on tiptoe for March 25. "I have the best situation I could have," he maintains. "I make whatever films I want with complete creative freedom." A pause, and then he adds, "You know what...
...Pulitzer Prize, and sped him on to a Nobel in 1936. And still the jesters japed. Critic Alexander Woollcott, noting that one of the central characters was a gentleman of indeterminate sexual appetites, called Strange Interlude "a play in nine scenes and an epicene." Alfred Lunt, the doyen of Broadway actors, described it as "a six-day bisexual race." Lunt's wife Lynn Fontanne, who starred in the show, said of her nightly marathon: "This is like giving birth--it isn't worth...
...government agency to install surveillance agents in the upstairs front bedroom. The targets of this scrutiny turn out to be the Krogers: they have fabricated their personal histories, and are suspected to be part of a Soviet spy ring. But Pack of Lies, a West End hit now on Broadway, is only secondarily about espionage. As in his play and film Stevie, a small masterpiece that starred Glenda Jackson, Whitemore is more interested in private drama: the anguish of having to uproot one's bedrock beliefs about people, the calamity that results when global politics intrude on quiet lives...
George Gershwin maintained that Porgy and Bess was a real opera, not a glorified Broadway musical, but until recently, few believed him. Early productions generally truncated his ample (more than three hours) score, cut down its lush orchestration and substituted spoken dialogue for the recitatives. But there has been growing interest in an authentic Porgy, beginning with the Houston Grand Opera's 1976 production and followed by an even more opulent version seen at New York's Radio City Music Hall two years ago. Last week, 50 years after its premiere, Porgy came all the way uptown to the Metropolitan...