Word: burstyn
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Dates: during 1990-1999
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...older married couple experiencing conflict on the eve of the reconfirmation of their wedding vows. Trent (Stewart) is a slick lawyer pursuing Meredith (Anderson), a neurotic theater director. Strangely, these two seem to be the only characters that work at anything other than finding their true love. Mildred (Ellen Burstyn) bonds with her son (Jay Mohr) on his deathbed, where they exchange long-concealed secrets. Gracie (Madeleine Stowe) pursues an adulterous, purely sexual relationship with Roger (Edwards), a no-strings-attached acquaintance with an ironic occupation. The most compelling story involves Hugh (Quaid), a character who wanders through various bars...
JOLSON: THE MUSICAL This tribute to the Mammy singer was a hit in London. Mike Burstyn stars in the U.S. tour, beginning next month in Cleveland, Ohio...
That's pretty much the message of How to Make an American Quilt, as received by Finn (Winona Ryder), a graduate student who spends a small-town summer with her grandmother and aunt (Ellen Burstyn and Anne Bancroft), working on her thesis and getting her head together. As things work out, she seems to devote most of her time to gathering instructive reminiscences from them and the rest of the ladies in their quilting bee. They are neither so genteel nor stridently feminist as you might fear...
FACING UP TO WIDOWHOOD, LUCILLE (Diane Ladd) fakes merriness, Doris (Olympia Dukakis) makes a tart-tongued second career out of mourning, and Esther (Ellen Burstyn) remains awash in vulnerability. They are THE CEMETERY CLUB -- three nice middle-aged, middle-class Jewish ladies trying to live out their leftover lives. When Esther crosses class lines to embark tentatively on a relationship with Ben (Danny Aiello), who drives a cab, her pals send up a chorus of envy and disapproval. The acting is sharp, and Bill Duke's direction is realistically grounded. But writer Ivan Menchell Neil Simonizes loss...
...real estate and corporations of the former Allies? Was victory hollow then? Given the atrocities, is justice being confounded now? Those familiar questions were posed anew but not answered in SHIMADA, an Australian hit that arrived on Broadway last week with a starry cast (Ben Gazzara, Ellen Burstyn, Estelle Parsons and Mako) and a gongs-and-samurai dreamscape production. The plot hinged on hints that a Japanese tycoon who bids on a clapped-out bicycle factory may also be the stockade guard who tortured its founder (as recalled in gruesome flashback). But that identity was never settled. The larger debate...