Word: broadway
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Dates: during 1980-1989
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...electric performance as Gladys in Pajama Game produced her first big break on Broadway 30 years ago, but Shirley MacLaine, 49, gave up her theater career when Hollywood beckoned. This April, however, she will make a rare appearance on the boards when she returns to her song-and-dance roots in a five-week stint at Manhattan's Gershwin Theater. The pocket-size review will feature four back-up dancers and an original score by Marvin Hamlisch (A Chorus Line, They're Playing Our Song). Says MacLaine: "I'll keep dancing and singing until my legs...
...addition Yerma and Love's Comedy, while not necessarily well known scripts, are written by known, quality, playwrights--it seems eminently appropriate to present the community with these plays which might otherwise remain in library stacks somewhere, keeping to themselves the richness they offer. I flatly deny that Broadway, commercial, success has anything to do with the refusal of past proposals--nor should it be a reason for accepting any proposal...
...schedule suggests, it is because most producers of musicals or popular plays have not bothered to submit proposals, which they know from past experience will be turned down. One musical was submitted this year, and was turned down, quite possibly because it had a successful moneymaking run on Broadway. (Both Working and Really Rosie, the two musicals mounted on the Mainstage last year, had short runs on Broadway and did not make money...
...film Amadeus, for which she created the dances. Next year she will make a full-length work for a European company, inspired by the early ballets of Mozart's time. Before that will come a June collaboration with Jerome Robbins for New York City Ballet. All of Broadway has its eye on this matchup of two tough-minded show-biz smoothies. So far Robbins has made only one suggestion: that the drop curtain be in the form of "His" and "Hers" bath towels. The sense of loss in Tharp's Fait Accompli has in part to do with...
That confrontation constituted the sum total of Lauro's one-act play produced off Broadway in 1981; one can see why she was encouraged to develop it to full length for Broadway. Calvin and Ginny may be symbolic representations, but they are also potent characters in their own right. The student's basic gentleness makes his rage, when it surfaces, all the more terrible to behold. The teacher's harassed decency makes the brisk cheer with which she tries to sell deceit to her self and her students the more poignant...