Word: comic
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Dates: during 1990-1999
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...beginning of the year, ROSIE O'DONNELL was a stand-up comic best known as a Madonna pal who had been in a few movies and K Mart commercials. Now she has a nice talk show, a nice book deal worth a reputed $3 million, a nice son Parker, and most of the readers of Seventeen thinking she'd be a nice President. Who better for Annie Leibovitz and the folks at Vanity Fair to turn into Glinda the good witch? It's not even her first time in the role. "When I was in the first grade I wanted...
Moreno is able to contort his face into every manageable form of laughter, each more convincing than the last. His visage reminds one of a young Jonathan Winters, as does his sense of comic timing. Von Gerbig is hilarious as his foil; her eyes move into every possible direction. She is as artless as he is artful...
Punch and Judy Get Divorced is a new musical describing, as the title suggests, the divorce of the famous puppet characters. Through witty songs and well-chore-ographed dance, it is able to successfully address the problems of marriage in the 1990s, while providing plenty of comic relief. Punch and Judy become the archetypal married couple; as Judy 1 (Lola Pashalinski) says: "We've been together for 200 some odd years--some very...
...most talented thespian of the group is Playten, whose performance shines. As Judy baby in Part One, her voice really does sound like a 4 year old's. With a nasal intonation, she sings the lullaby "Beauteeful," which is full of such comic lines as "life do your duty and make me a cutie." Most impressive of all is the next number, "Wanna Be A Man," where from phrase to phrase she alternates between her nasal baby voice (Judy baby) and a deeper chest voice (Punch Jr.). Her consistent differentiation between the two throughout the song is remarkable. Not surprisingly...
...hanging. Rabbit brings Meg to new lows in ditzoid blowsiness, to such an extent that she sometimes doesn't appear to know to be afraid when she is threatened. This makes it especially difficult to believe her belle-of-the-ball past when it's mentioned, but the comic potential of the suggestion makes up for it. Rabbit shows the eloquence of stance alone, as does Nuccio. Meg's hands are permanently raised, ready for the next breakfast; Petey never emerges more than halfway out of his shell, even when walking with newspaper clutched. How did the two get married...