Word: broadway
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...world's most popular living dance maker. Every night of the year, in some twilit city, the curtain goes up on one of his shows. On his tempestuous, mostly male Swan Lake, the longest-running dance production in London's history and a triple Tony Award winner on Broadway. On The Car Man, his steamy spot-welding of Carmen and The Postman Always Rings Twice. On his bittersweet Nutcracker or his funny, touching Edward Scissorhands...
...virile, threatening male swans. "I was amazed by what he'd done," recalls Davidson, who retired in 2005. "I said to myself, we have to do it - somehow." He brought the piece over to L.A.'s 2,000-seat Ahmanson Theater, whose audience was more used to touring Broadway shows than experimental dance. But when Davidson wrote to all his subscribers telling them: "Trust me on this one!" they came. "And after that, we took New York by storm...
Both. I remember going into the supermarket, a Gristedes on 86th Street and Broadway, and it was playing in the background on the street. Somebody had a transistor radio, and they walked in with it. I thought, Oh my God, that's me. That's an amazing moment, the first time you hear yourself on radio. It's still thrilling. And it was scary because there were all these people screaming at me at concerts and people spitting at me on the street...
...dancer and actor, Barbara Ann Teer quickly landed roles in 1960s Broadway shows like Kwamina and Where's Daddy? after she arrived in New York City. But she yearned for parts that would celebrate her heritage instead of further perpetuating stereotypes. So in 1968, Teer founded the National Black Theatre in Harlem, where she became a staunch advocate for African and African-American artists. Under Teer's stewardship, the institution evolved into a cornerstone of black culture...
...also in form. The story is little more than a series of vignettes revolving around a communal-living group headed by the fiery, free-spirited Berger and the more conflicted refugee from Queens, Claude. (A New York Times critic, quaintly, said the show reminded him of 1920s off-Broadway revues--"the bright impudence of The Grand Street Follies and The Garrick Gaieties.") The score by Galt MacDermot--a musician who was nearing 40, loved jazz and favored suits and ties, the straight man out in this band of hippie-artists--is more experimental than it usually gets credit...