Word: joes
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Dates: during 1970-1979
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...multiflex in one semester," and so let us in all haste fire our existing faculty and offer tenure to the valiant young men of the Harvard football team; let us replace our Professors of Philosophy, Physics and the Classics with Professors of Passing, Punting and Catching. And with Joe Restic as Dean of the Faculty, Harvard University just might stand a chance of catching up with the University of Oklahoma at Stillwater...
...uncultivated picked up on his being there. By evening's end, it was clear that it was the spectral presence of the ghost of that late, great form of entertainment, vaudeville, which had made the show. Yes, the program contained lively music, and a captivating, even heroic, effort from Joe Masiell, but its recreation of a past era was what set it apart. For those in the audience who remembered vaudeville--The Palace, the lonely spotlight, that special rapport between individual performer and audience--this production brought all the images back. For those who post-date the vaudeville...
Like all vaudeville, Not at the Palace depends for its success on the personality of its spotlit entertainer--in this case, Joe Masiell, a lithe, practiced, crudely handsome Italian (his agent chopped the "o" off the end of his surname) with a contagious delight in performing. On stage for the entire production, he performs all but one of its numbers. Joe Masiell--as he himself emphasizes--has had a checkered career in show business. "It's been a push, a battle, a struggle for a long while," he commented after opening night. "I've been at it since...
...Joe Masiell's assessment of the peculiar fate of 20th-century man emerges unmistakably from this musical potpourri. A shameless and sincere romantic, he laughs defiantly in the face of the world's many troubles. "They'll only get you down if you let 'em," he seems to say, and in light of his professional struggles, and his father's chronic illness, his is the voice of experience. There is a sordidness and crudity in many of the renditions reminiscent often of Joel Grey in Cabaret. Furthermore, Masiell's carriage, and four husky, underdressed, female sidekicks make the whole performance...
...optimistic realism of Not at the Palace helps Joe Masiell accomplish the near-impossible--he holds an audience's attention, alone, for some two and one-half hours. As a stage presence he has many gifts: a well-controlled and expressive singing voice, grace as a dancer, and the knack of an accomplished professional. He knows when to smile, when to chat with the audience, when to casually sling his jacket over his shoulder--and all this helps. But above all, he knows how to make you feel he actually believes his message; perhaps, and this would be a rarity...