Word: john
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Dates: during 1980-1989
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CORRESPONDENTS: John F. Stacks (Chief); Barrett Seaman (Deputy); Suzanne Davis (Deputy, Administration) Special Correspondent: Michael Kramer Correspondent at Large: Bonnie Angelo Washington Contributing Editor: Hugh Sidey Diplomatic Correspondent: Christopher Ogden...
London: William Mader, Anne Constable Paris: Christopher Redman, Margot Hornblower Brussels: Adam Zagorin Bonn: James O. Jackson Rome: Cathy Booth Eastern Europe: John Borrell Moscow: John Kohan, Ann Blackman Jerusalem: Jon D. Hull Cairo: Dean Fischer, William Dowell Nairobi: Marguerite Michaels Johannesburg: Scott MacLeod New Delhi: Edward W. Desmond Beijing: Sandra Burton, Jaime A. FlorCruz Southeast Asia: William Stewart Hong Kong: Jay Branegan Bangkok: Ross H. Munro Seoul: David S. Jackson Tokyo: Barry Hillenbrand, Seiichi Kanise, Kumiko Makihara Ottawa: James L. Graff Central America: John Moody Rio de Janeiro: Laura Lopez...
Administration: Susan Lynd, David Richardson, Clementina Allured, Hope Almash, Melissa August, Sharon Boger, Donald N. Collins, Joan A. Connelly, Ann V. King, Judith R. Stoler News Desks: Breena Clarke, Douglas Dale, Brian Doyle, Eileen Harkin, Suzanne W. Marcou, Waits L. May III, Jacalyn McConnell, John F. McDonald, Susanna M. Schrobsdorff, Pamela H. Thompson, Diana Tollerson, Joanne Waugh, Ann Drury Wellford, Jean R. White, Mary Wormley
...from the memoirs of stripper Gypsy Rose Lee. Prince of Central Park, which quickly closed, derived from a book that had also prompted a made-for-TV movie. Brecht's own The Threepenny Opera, featuring rock star Sting as the seductive villain Macheath, is freely filched from British satirist John Gay's 1728 The Beggar's Opera. Sad to say, although each show could boast ingenious design and staging or beguiling acting, far from the best writers have been at work...
...Threepenny Opera originated as a leftist diatribe, and is even more of one in John Dexter's snarly, airless staging. Michael Feingold's translation claims to reflect more authentically the 1928 Berlin debut than the Marc Blitzstein version popularized in the '50s. It is surely less effective. For example, it freights the naive scrubwoman anger of Pirate Jenny with sophisticated detail that is out of character, and enervatingly transforms the last syllable of the second-act finale from a strident long vowel to a swallowed short one. Jocelyn Herbert's cumbersome set obstructs movement, draining energy. But emotion intensifies after...