Word: cameronism
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IMPRESARIO CAMERON MACKINTOSH made his millions (150 or so of them, in dollar terms) producing musicals of high tech, high technique and high seriousness -- Miss Saigon, Les Miserables, The Phantom of the Opera and Cats. He was just out for a night on the town with friends in Britain when he saw a jumping, jiving cabaret revue. It could not have been further from Mackintosh's customary taste. He favors life-and-death storytelling; Five Guys Named Moe is a wisp of a tale about a drunken lowlife cleaning up his act and winning back his lady love with...
Consider William Cameron Forbes. He drifted after graduation, travelled for a while, then volunteered for two years in a broker's office. After that, he coached the Harvard football team to an undefeated season in 1898. That was his big break...
...received my housing assignment. Above the din of the Mem Church bells, I heard another shrill and annoying sound, quite clearly emanating from the third floor of Weld. It was a bloodcurdling, hair-raising, "this is where Cameron freaks out" kind of scream. It was the C-word. "Currier! Currier! Oh God, I've been Currierized!!" The day had come...
...Mancha (1965) and Guys and Dolls (1950), and a belated transfer of the off-Broadway hits March of the Falsettos (1981) and Falsettoland (1990), now paired in a single evening. In addition are three "new" musicals recycling songs by black composers: Five Guys Named Moe, produced by London impresario Cameron Mackintosh but mounted by Americans around the work of Louis Jordan; Jelly's Last Jam, featuring Jelly Roll Morton music and tap dancers Gregory Hines and Savion Glover; and The High Rollers Social and Pleasure Club, a review starring New Orleans songwriter Allen Toussaint...
...life tends to be dominated by one's research," Cameron says. "Some people tend to get tense, but I take a phlegmatic approach to what I'm doing...