Word: broadway
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Dates: during 1980-1989
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...broke into a radiant smile that never faded through a medley of mostly Gershwin songs. Here, too, she taught the others a lesson, for rather than self-consciously choosing one approach or the other, she simply skated as the music demanded: lyrical to a love song, witty with a Broadway toe-tapper, intelligent and expressive in every mood and movement...
...situation is particularly sensitive in Hollywood and on Broadway. Says Composer Horner: "Producers want a guy who for $40,000 will give them an electronic score that will sound like a symphony orchestra, whereas that same score written for and played by live musicians can run upwards of $150,000." On Broadway, union contracts prevent the replacement of performers by electronic instruments, but in Hollywood the issue is currently being negotiated by the studios and the musicians' union...
...Woman of the Year and the movie New York, New York, they have composed dozens of brassy ballads for gutsy ladies staking out their parcel of asphalt turf. No raindrops on roses and whiskers on kittens for these guys. Kander's tunes have the catchy dissonance of a Broadway traffic snarl just before show time; violins cower mutely in the pit while the percussion sets a tempo of edgy energy and the horns bleat like Kurt Weill's orphaned children. Ebb never wrote a lyric as clawing as the imaginary one cited above, but he revels in devising...
...Rink, the Kander-Ebb musical that opened last week on Broadway, is set on the ragged fringe of the New York show-biz world: in a Coney Island of the mind where Anna Antonelli's roller-skating rink is about to be demolished, and with it Anna's sour memories of life with her runaway Lothario of a husband and her painfully shy daughter Angel. Terrence McNally's script might suggest a domestic minidrama swathed in poignancy-A Tree Grows in Brooklyn mixed with Terms of Endearment. But from the moment the curtain rises on Peter Larkin...
...show's casting is even grander than its ambitions. Chita Rivera (Anna) is about as small-time as Radio City Music Hall. Packing 30 years of Broadway savvy into the frame of a vivacious teenager, the 51-year-old entertainer could by now sell a song to the deaf; she commands the audience like a lion tamer with a whip snap in her walk; and, by the forces of magnetism and sheer will, she eats co-stars for breakfast. Thus it is partly noblesse oblige and partly the instinct for survival that keeps Liza Minnelli (Angel), the bigger...