Word: broadway
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Dates: during 1990-1999
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...ontological crisis casting director Eddie (Sean Penn) undergoes. One could argue that you don't need a screen version of this play to figure this out, but really this movie can be seen as another attempt at a definitive stage version: Rabe strongly disagreed with Mike Nicholas' 1984 Broadway version, revised the play after directing it himself in 1988 and now finally takes another crack at it with this screen adaptation of beautiful downtown 1998. Many of Rabe's revisions heightened the themes of destiny and accident (e.g engineered or semi-engineered, whether Ryan's Bonnie or Anna Paquin...
Death of A Salesman got plenty of attention right from the start. When it opened on Broadway in February 1949, the advance buzz was intense, the critics mostly raved (though TIME's Louis Kronenberger complained about its "inadequate artistry" and "sometimes stolid prose"), and the play went on to win both a Tony Award and the Pulitzer Prize. It catapulted Arthur Miller to the top rank of American playwrights and has made perhaps a firmer dent in our consciousness than any other drama written for the American stage. So when the play celebrates its 50th anniversary this week with...
...Rotarian recognizability that are unforgettable. There have been black Willy Lomans and Chinese Willy Lomans; big, bearish Willys like George C. Scott and feisty, bantamweight Willys like Dustin Hoffman. Brian Dennehy, in the new production from Chicago's Goodman Theatre that opens (with some minor cast changes) on Broadway this week, is a solid entrant in the big-Willy tradition. He's a charismatic man who, it's easy to imagine, might actually have been liked, even well liked, in his prime. Yet his lumbering frame seems constantly ready to tip over, a giant reduced to childlike confusion...
...Cost of a ticket for the best seats at the off-Broadway production...
...popular and Tony-award-winning musicals go, Ragtime is about as innovative as Broadway can get. Paul Simon's The Capeman was eclectic, but failed miserably in ticket sales. Rent, on the other hand, is praised for being original, but still flaunts enough crowd-pleasing values (love despite adversity, carpe diem) to insure huge financial success. To succeed on the Great White Way, a show does not always have to sacrifice controversy, but it usually does have to put it in a prettily-packaged manner that will draw enough theatergoers to pay the bills--and make a gargantuan profit besides...