Word: lincoln
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Dates: during 1980-1989
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WASHINGTONIANS are normally proud of their city, eager to brag about their clean streets, beautiful monuments and low unemployment. But ask them about their local politics, and they will run and hide behind the Lincoln Memorial...
When James Bond roars off in the upcoming License to Kill, he'll be driving a Lincoln Continental Mark VII instead of his famous Aston Martin. It's not that No. 007 has altered his automotive allegiance. It's that Ford Motor Co., the maker of the Continental, offered free cars for the film in exchange for putting Bond behind the wheel of its top-of-the-line luxury model. So it was farewell, Aston Martin. In the lucrative world of product placement, show business and big business are seeing eye to eye about getting brand names into the movies...
This revival, staged by Gregory Mosher, director of the Lincoln Center Theater, cannot entirely recapture the liberating novelty that the first audiences found in Wilder's disdain for sets, props and other devices of illusion. But the production vividly evokes both his playful belittling of narrative and the irresistible appeal of his storytelling. Monologist Spalding Gray brings a feisty and brooding quality to the customarily benign stage manager: if his halfhearted attempts at a New Hampshire accent fail, the laughs he evokes are both frequent and authentic to the text. Film actors Eric Stoltz (Mask) and Penelope Ann Miller (Biloxi...
...Town is yet another quasi-commercial undertaking by the nonprofit Lincoln Center company, joining its productions of Sarafina!, Speed-the-Plow and Anything Goes in currently drawing crowds on Broadway. Despite grumbling by competitors about union concessions and unfair competition, Lincoln Center has made a major contribution. At a time when most other producers condescendingly offer fluff, it has shown that mainstream ticket buyers have better taste...
Anyone who wonders what is wrong with American opera in general and the Metropolitan Opera in particular need look no further than Manhattan's Lincoln Center, where the Met last week uncrated its elephantine new production of Verdi's Aida. Can the nation's leading opera house really be serious about offering this animated comic book as art? While not a disaster on the order of last season's catastrophic Il Trovatore, the new Aida represents all that ails the company these days...