Word: marvinism
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...direction or production. It is thanks to individual cast members overcoming unremarkable choreography, boring staging, and a really awful pit orchestra by sheer force of personality. There are really great moments in what is generally a mess.“A Chorus Line,” with music by Marvin Hamlisch and a book by James Kirkwood and Nicholas Dante, originally opened on Broadway in 1975. The show takes place over the course of a dance audition for a Broadway show, and it is founded on a neat bit of irony: the dancers on-stage are playing themselves. They actually...
...play’s book, written by David Lindsay-Abaire, abridges and bastardizes Hornby’s work; the cast, directed by Walter Bobbie, lacks any semblance of vocal or acting talent; and the original score by Tom Kitt channels Meatloaf more than Marvin Gaye. Calling “High Fidelity” a disaster would be giving too generous an appellation to the two-and-a-half-hour train wreck that opened in Boston...
...show tune if there ever was one. That little three-note figure - doo-do-de, doo-do-de, doo-do-de - is still one of the most thrilling buildups in the history of the musical theater. But it's just the ice cream sundae at the end of Marvin Hamlisch's rich banquet of a score, with its equal helpings of Tin Pan Alley schmaltz and modernist invention. Sure, it's too soon for a Chorus Line revival. But it's also too soon to dismiss this show with mere nostalgia...
...diner, is one of the most influential works in American lit; without it, no Pulp Fiction. The 1946 movie expands the action with a long flashback about the gangster's prey, a haunted boxer called Swede (Burt Lancaster in his first movie). The 1964 version has murderous Lee Marvin tangling with the even more venal Ronald Reagan (in his last movie). The set also includes a third film, a short by renegade Soviet auteur Andrei Tarkovsky...
...jump between the two premier satirical sketch shows of the '70s and early '80s, SCTV and Saturday Night Live,, and he made the usual transition to less-inspired film roles. But it wasn't until he starred on Broadway in 1993's The Goodbye Girl, an underrated musical with Marvin Hamlisch's best post-Chorus Line score, that he showed how effortlessly his lithe, smallish body could take over a Broadway stage. There hasn't been much for him to do on Broadway since then - although he did cop a Tony for his tour-de-force performance in a revival...