Word: maes
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Dates: during 1990-1999
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...proposed by city councilor Dorothy Mae Taylor, who is black, will not affect Mardi Gras until 1993, leaving the council committees time to review, and possibly revise, the penalties. The legislation "could kill Mardi Gras," warns Beau Bassich, a member of the Mardi Gras Coordinating Committee. Says Loyola professor Edward Renwick: "To bring up such a divisive issue so shortly after this election seems to blow the coalition asunder. We're right back to where we started. Taylor is the Grinch who stole Mardi Gras...
Williams's powerful script requires strong performances from the main characters. And Peterson and Javerbaum rise to the occasion. Peterson gives an urgent performance that moves the audience to feel her need for love and attention from Brick. In scenes with her sister-in-law Mae (Heather Hughes), Peterson displays just the right amount of spite and hatred, while still retaining her Southern manners...
Although some of the problem stems from Williams's script, the minor characters in this production still do not receive adequate attention. Gooper, Brick's older brother and a successful Memphis lawyer, is played tepidly by John Rosetti. As Mae, Hughes exhibits enough shrewishness to make her dislikable, but not enough to make her detestable...
...from the age when people wrote songs for stars to belt. It's tempting to call Bette Midler a force of nature -- except there is nothing natural about what she does. She's a living, breathing high concept, a bundle of nerve and other people's conventions (a little Mae West, a touch of Judy Garland, maybe all three Andrews Sisters rolled into one). But if as a performer Midler conjures up an older, bolder show-biz era, she doesn't nostalgize it. She gives it a rude, shrewd yet affectionate twist, satirizing and energizing it for contemporary audiences...
...having everyone "know his place." These facts are so overarching that we tend to take them for granted, but they are inherently more dramatic than the domestic squabbles and psychological revelations at the heart of most U.S. theater. It is the daring, and impressively achieved, ambition of Endesha Ida Mae Holland to make this arc of change the subject of a single play and to illuminate it all in the more-or-less true story of one black woman: herself...