Word: juliet
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Dates: during 1970-1979
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...play is apprentice work of the Bard's, but it does contain premonitory inklings of Romeo and Juliet and Twelfth Night. However, the theme of young love is scarcely served by this dryly mocking adaptation. The musical resembles an animated jukebox and comes alive only in one sultry number, delivered by a one-woman heat wave named Jonelle Allen. The excuse for ventures of this sort is that they render the classics accessible. Actually, such shows are merely masked in the accessories of modernity - rock music, randy deshabille, silly props and lofty panfraternal sentimentality. The resulting trivia are perfectly...
...program from 23 classics. Among them were the Mahler First Symphony and Beethoven's Third, Fifth, Seventh and Eighth. Even though the audience was composed largely of supposedly hip students, the winners were Ravel's hoary Boléro and Tchaikovsky's Romeo and Juliet overture...
Beyond, or below, the reach of Stigwood and MCA, the cash and carrying on over Jesus as an exploitable product continues briskly. Declaring that romantic films are through for now, Italian Director Franco Zeffirelli (Romeo and Juliet] has just announced that he is planning what he calls a "factual" film, to be called The Assassination of Christ. "This decade should be one of spiritual awakening," continues Zeffirelli, "not even a movie director should ignore it." Among those not ignoring it are the Pop and head shops offering Jesus Christ jockey shorts. And for the ladies: Jesus Christ bikinis. A radio...
Poor Romeo. He and his Juliet seem doomed to be endlessly reincarnated across the stages of the world. From Broadway to Hollywood, from La Scala to the Met, from the Bolshoi to Manhattan's New York State Theater, there is scarcely an evening when somewhere or other the young lovers are not locked in one another's arms. One of the most affecting renditions of their adaptable story is the dance created by Antony Tudor in 1943 for the American Ballet Theater (then known as just plain Ballet Theater). Last week, after several years out of the repertory...
Tudor's mime-laden choreography is ably danced by the ABT soloists. The Juliet of the premiere was Italy's Carla Fracci, whose gentle, girlish way of evoking youthful passion is complemented by the stiff, manly Romeo of Ivan Nagy. If their individual dancing styles do not always mesh, Tudor nonetheless is still able to make disunity work for, not against, the production...