Word: mama
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Dates: during 1970-1979
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...With one of his earliest literary efforts a novel at age 13, Horovitz also took to directing and acting in plays at Harvard and in the Boston area in the days just before the Leob Drama Center. From Harvard, he went on to write and act at Cafe La Mama in New York and first achieved recognition with his play Line in which he took an acting role at the last moment when the star went off to Hollywood. Other critical successes in New York were the productions of The Indian Wants the Bronx and Morning, part of the trilogy...
...reckoned with. "I think I went to 14 schools in all," says Liza, by this time lying on the floor alternately bumming cigarettes and hugging her dog, Ocho. "We started moving around a lot from one house to another. Usually we moved in the night. That was probably because Mama was so broke and maybe she owed money to landlords. Anyway, every time we moved I'd find myself in a different school. Private if we could afford it, public if we couldn't." As a result, "I hated school. It annoyed me. Oh, I went through...
...first break with home and family came at age 16. "Mama went on a kick every now and then where she used to kick me out of the house. Usually I'd stand outside the door, and pretty soon she'd open it and we'd fall into each other's arms, crying and carrying on. But one day she did it and I took her up on it. I went to New York. I had my plane fare and $100, and I've never taken a penny since. Perfect." After a few nights with...
...myself about the reasons success happened so easily for me: my mother and the curiosity factor," says Liza. When she was 18, her mother asked her to share the bill at a Judy Garland comeback at the London Palladium. "That was terrifying," says Liza. "First of all, Mama was so adored. It's hard to buck that orgy of emotion. Second, Mama suddenly realized that she had a grown-up daughter, that she wasn't a kid herself any more. She became very competitive with me." By 19 Liza had the lead in a Broadway musical, Flora...
Much credit is due to Obie-award winner Tom O'Horgan, Hair's first director, Actor Jonathan Kramer, a veteran of the Cafe La Mama Troupe. told me later that O'Horgan is "the most successful thing about Hair. His staging of the show covers up incredible weaknesses." But severe shortcomings are hardly visible. The choreography is excellent, and a controlled chaos in the dancing make the show realistic. The music is usually light and funny, but sometimes deep and moving as well. And the acting is superb...