Word: michaell
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Dates: during 1980-1989
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News Editors for This Issue Susan B. Glasser '90 Night Editors: Colin F. Boyle '90 Susan B. Glasser '90 Matthew M. Hoffman '91 Yuko M. Miyazaki '92 Julio R. Varela '90 Editorial Editor: Andrew J. Bates '90 Adam L. Berger '91 Features Editor: Ross G. Forman '90 Sports Editor: Michael D. Stankiewicz '90-'91 Photo Editor: Gavin R. Villareal '90 Business Editor: Raymond Nomizu '91 Philip...
...package, along with several other fiscal crisis solutions, was discussed privately last week by state Democratic leaders including Gov. Michael S. Dukakis, Keverian, Bulger, Flaherty and Richard A. Voke (D-Chelsea), chair of the House Ways and Means Committee, during a meeting called by the Senate president...
...Threepenny Opera originated as a leftist diatribe, and is even more of one in John Dexter's snarly, airless staging. Michael Feingold's translation claims to reflect more authentically the 1928 Berlin debut than the Marc Blitzstein version popularized in the '50s. It is surely less effective. For example, it freights the naive scrubwoman anger of Pirate Jenny with sophisticated detail that is out of character, and enervatingly transforms the last syllable of the second-act finale from a strident long vowel to a swallowed short one. Jocelyn Herbert's cumbersome set obstructs movement, draining energy. But emotion intensifies after...
...poshest spot in Berlin in 1928, the very year that Threepenny premiered. In this rarefied place, even victims are privileged: a bankrupt baron (David Carroll), an embattled industrialist (Timothy Jerome), a ballerina in decline (Liliane Montevecchi) and her dogsbody, a closet lesbian (Karen Akers). A dying accountant, played by Michael Jeter with a dazzling mix of febrile weakness and life-grabbing gusto, has enough money to live out his waning days in luxury, while a typist (Jane Krakowski) who moves from man to man always has her looks to fall back...
...before it has begun. Director- choreographer Tommy Tune provides a pretentious last-minutes ballet between characters introduced as love and death. Despite these shortcomings, Grand Hotel is the musical winner of the season, bringing to mind, if not quite matching, the kinetic narratives of Harold Prince, Bob Fosse and Michael Bennett in their heyday. Tune takes a set more cluttered than Threepenny's -- fluted columns, a revolving door, dozens of chairs -- and weaves around it a ceaseless flow. If some of the wizardry is borrowed from bygone auteur directors, that is in keeping with the real meaning of Brecht...