Word: combo
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Dates: during 1970-1979
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Schroeder (Forbes James Candlish) is another member whose gestures along could make his part. Candlish memorized the finger movements for his scenes of musical virtuosity, and backed by the actual music of the show's combo, he blithely wraps himself in a cloak of Beethoven or Socrates to ward off Lucy's (Jackie Levy's) stubborn attacks. It's hard not to wince at the thought of what little Lucy will be like when she grows up. The strident beginnings of a first-class shrew increase her "crabbiness" ("it's undemocratic if I can't be Queen") to a screeching...
Supported by Thomas Johnson's outstanding combo, "Charlie Brown" remains a nearly impeccable piece of musical theater. Although at times a trifle sweet, this world without parents doesn't consequently exclude an adult audience. It is fair to fair to say that happiness, for an hour and a half, is seeing Ed Zwick's "You're a Good Man, Charlies Brown...
...unlikely he would recover. But he did, only recently announcing his return to work (TIME, July 12). His sudden death from heart failure ended a career that spanned the life of jazz. He emerged during its early days, became the first big star to shine in front of a combo. He paved the road over which virtually every jazzman of any importance would walk to fame thereafter...
...thought seemed to cheer her up. Her husband ordered a steak sent up to her room, and after she put it away she bounced up and taught a visitor how to do the shuffle and the shim-sham. Soon she was stomping to the music of an imaginary combo and shaking it up like the great little putter-outer she has always been. "Ta-daaaaa!" she yelled as she reached the Durante closer, her arms opened wide and her green eyes glittering happily through her long soft strawberry locks. Quit show business? Come off it! Just watch her face light...
...ways to exploit it. Besides the score, there is the device of having the characters shadowed throughout the show by their former selves, wearing the glamorous old costumes and white-faced make-up. There are two bands, a rich Follies orchestra in the pit and a downbeat jazz combo for the party on stage. Choreographer and co-director Michael Bennett has blended the dance steps of two generations, and Jonathan Tunick's orchestrations switch constantly from the Busby Berkeley sound to that of Mahler. Most important of all, the cast is filled with show business old-timers (prominent among them...