Word: broadway
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Dates: during 1980-1989
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...based on Hieronymus Bosch's painting, and Vienna: Lusthaus (1986), which suggested the way 19th century romanticism evolved toward 20th century Holocaust. Clarke's allusive, dreamlike style can mesmerize audiences into believing they perceive subtle new connections among ideas and events. But in The Hunger Artist, which opened off-Broadway last week, Clarke has turned toward narrative and dialogue, and what meets the ear and brain is less than what meets the eye. The passages she has culled from Kafka, particularly The Metamorphosis, are familiar; the actors sometimes find eerie pathos but often waver between lobotomized declamation and coarse accent...
...mermaid's spangled fin and a motorized wheelchair; wowed crowds with her renowned mammary-balloon ballet. So what can she do for a 1987 encore? Strut into her hit movie, Outrageous Fortune, abuse a defenseless pay phone and insist, "Gimme back my bleepin' quarta!" Hollywood may be far from Broadway, but for Bette Midler it's just another opening, another show...
...says, "and lo and behold, I was a big success. For our first full revue, we had our backup trio, the Harlettes, and a great band and girls in tap-dancing clothes and the jukebox and the mannequins and King Kong. It just blew me away!" Bette was a Broadway star...
...Charing Cross Road, which played the West End and Broadway a few years ago, began as Helene Hanff's 1970 memoir of her 20-year mail-order affair with the London bookseller Marks & Co. Hanff, an aspiring Manhattan writer, never met Frank Doel, the antiquarian across the sea, yet their business correspondence about old books gradually took on the intimacy of love letters about literature. She described, with chatty eloquence, her sensuous safari through the world of words; he tracked down her requests with a consort's fond diligence...
Like Frank Doel, Stephanie Anderson in Duet for One has the plucky, soldiering-on English temperament. Beneath it, however, is a violin virtuoso's rage at being felled by multiple sclerosis. The role, played on Broadway by Bancroft, now extracts one of Julie Andrews' strongest performances. Fighting the disease and its accompanying despair, stoking her own infidelity and her husband's, displaying the terminal patient's luxury of being both noble and bitter, Andrews transforms Tom Kempinski's case history into a metaphor for middle age. Stephanie could be any careerist facing a mid-life crisis of confidence...