Word: millers
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...show, sponsored by Show Up For Democracy, had an obvious ulterior motive: convincing the audience to vote in the upcoming presidential election. Charlie I. Miller ’08, director and co-author, relied heavily on his cast’s willingness to make fools of themselves and the audience’s willingness to let them. But the obvious good intentions of the play combined with a few bright comic moments to make the show a success...
...second act opens to Ann smoking a cigarette in quiet café, her back to a bear yellow wall, her bearing is that of a woman in a (racey) Hopper painting. More surreally, there is also a chorus (Tony L. Chin-Quee ’05, Alexandra S. Miller ’07, and Amy C. Stebbins ’07) that sings Lou Reed’s peppy “White Light” very nicely...
Before Charles and Di or Tom and Nicole or Britney and that guy standing next to her in all the wedding photos, there were Arthur Miller and Marilyn Monroe, the real celebrity couple of the past century. America's best-known egghead playwright married Hollywood's leading sex symbol in 1956, accompanied by a media frenzy. The public couldn't get enough of this owl-and- the-pussycat marriage, which seemed to unravel in all the predictable ways. Miller's creative output dried up as he tended to Monroe's career; she grew increasingly depressed and dependent on drugs. They...
...autobiographical play After the Fall. Critics savaged it ("A shameless piece of tabloid gossip," wrote Robert Brustein in the New Republic), particularly its scorching portrayal of the sexy, unstable singer so clearly modeled after Monroe. A Broadway revival earlier this year was almost equally reviled. You'd think Miller would let sleeping sex symbols lie. But now, 40 years later, he has revisited his marriage in yet another play, Finishing the Picture, an account of the making of The Misfits, the 1961 movie Miller wrote for his wife, which turned out to be Monroe's and co-star Clark Gable...
...Miller's behind-the-scenes portrait of the filmmaking process is surprisingly evenhanded and convincing. He avoids two common pitfalls--no cheesy impersonations (Gable, wisely, is kept offstage) and no easy potshots at Hollywood. The film's producer (Stacy Keach) is a trucking magnate who confesses he knows little about movies. Yet he's not the usual power-hungry philistine but a sensitive, level-headed decision maker. The director (Harris Yulin, as a veiled John Huston) has to spout some of Miller's windiest metaphors, but his gruff philosophizing is dead serious. The only real figures of ridicule...