Word: galatis
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Dates: during 1990-1999
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...There are times when the openhearted lyricism of a Leonard Bernstein would have been welcome, but the lean, laconic score keeps the action moving, lending Miller's kitchen-table naturalism a freshening touch of poetry. Add in Josephson's star-quality performance as Eddie, the exemplary staging of Frank Galati (who directed Broadway's Ragtime) and Santo Loquasto's angular set--the Brooklyn Bridge as painted by Franz Kline--and you get a no-nonsense tragedy whose final curtain falls with the tight-lipped impact of a police report...
Directed by Frank Galati...
...raves in November, is the hottest-selling show in Broadway history. Just across the street, at another rebuilt theater dubbed the Ford Center for the Performing Arts, the eagerly awaited Ragtime has just opened. The musical version of E.L. Doctorow's novel--adapted by Terrence McNally, directed by Frank Galati, with songs by Lynn Ahrens and Stephen Flaherty--has already had successful runs in Toronto and Los Angeles (and was named by TIME as best theater event of 1997). Finally, Broadway audiences can see the object of all the fuss--a brilliant work of musical storytelling, social comment and canny...
...hype (the show has been trumpeted seemingly since the Ice Age), another mega-disappointment. In fact, it turns out to be a landmark American musical. Doctorow's turn-of-the-century tapestry, mixing fact and fiction, has been expertly refashioned for the stage by playwright Terrence McNally; director Frank Galati has showcased it in a crisp and beautiful production; the score by Lynn Ahrens and Stephen Flaherty gets better with each hearing. And how many musicals have the audience fighting off tears before the end of the first act? The show doesn't arrive on Broadway until January...
...historical figures (Harry Houdini, Emma Goldman) mingling with fictional ones like Coalhouse Walker Jr., the ragtime pianist turned antiracism firebrand. Composer Stephen Flaherty and lyricist Lynn Ahrens supply a score alternately catchy (the ragtime numbers) and affecting (a wife's proto-feminist lament, Back to Before). And director Frank Galati and choreographer Graciela Daniele have created stage pictures that are both lovely and thematically apt, from the exquisite opening dance in which three groups--blacks, immigrants and parasol-toting white society--circle one another warily, to J.P. Morgan on a walkway that slowly descends to crush the admiring workers below...