Word: gleason
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...been the usual shifting of deck chairs on the Titanic. Writer-director Arthur Laurents gave his plot not just one hook but two: the murder of a female bookkeeper with a surprisingly glamorous set of associates and the marital troubles of Nick and Nora Charles (Barry Bostwick and Joanna Gleason), the detectives who are on the case. But Laurents seems to have had trouble taking either half of the story seriously. The mystery investigation involves a series of pantomime flashbacks, each sillier-looking than the one before. The title characters are written so carelessly that in the opening scene...
...nostalgia but preserving an important social and cultural record. Sure enough, the museum has rounded up hundreds of kinescopes and tapes from TV's past that might otherwise have been lost. Its curatorial work, moreover, has sparked a revival of interest in such seminal TV figures as Jackie Gleason and Ernie Kovacs...
...would like to bring to your attention two glaring, embarrassing journalistic faux pas that appeared in the "Arts" section of your publication on Thursday, April 11. The following excerpts are taken from Margaret H. Gleason's "Hamlet Unable to Sustain Innovation," and P. Gregory Maravilla's "Sadism and Flying Refrigerators," respectively...
Incidentally, I would love for Ms. Gleason to define for the more theatrically ignorant of her readers what exactly a Pirandellian "staging" is. Enquiring and incredulous minds want to know. It is true that the plays of Luigi Pirandello did indeed "draw attention to the artificial nature of theater," but only in their content, not in their "staging." Furthermore, I'd like to point out to Ms. Gleason that although a group of people dressed in black who move furniture on stage might to the untrained eye resemble a "tech crew," these people may indeed be cleverly disguised actors...
This is partly a matter of image. Goodman has become our designated Everyman, a Ralph Kramden for the '90s but without the splenetic splutter of Jackie Gleason's immortal creation. An intelligence, a sensitivity he can't quite articulate, just possibly a slight sadness, lurk behind Goodman's eyes, and they ground everything he does in reality. Midler, on the other hand, is our great show-biz floozy, and Allen personifies the anxious urban intellect. It is hard to insert their screen personas into the kind of normal, middle- class lives they are supposed to inhabit here. They require highly...