Word: off-broadway
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...good old days got worse. Elly sang in striptease shows, and understudied Barbra Streisand in I Can Get It for You Wholesale. It was like sending a sparrow in for a hawk. Off-Broadway was a better avenue for her talents. In 1961, she found herself in a little musical entitled O, Oysters! Its author-producer was Eric Blau, a minor poet who was to become her second husband. A ghostwriter by trade (for Mickey Mantle, Jim Brown), Blau had a contagious obsession: Jacques Brel. "I was knocked out when I heard his work," he recalls. "I had never known...
...Flamandes (The Flemish Women), for example, became Marathon, and metamorphosed from a Belgian character study into a portrayal of the American treadmill. Then came the hard part. Blau wanted the show staged with "everything floating, and the feeling that all was pressed against a tapestry of utter silence." Off-Broadway, utter silence is a phenomenon that usually occurs only after a show closes...
...Fantasticks is a sugary off-Broadway musical that has been running for ten years. With serene irrelevance, it has been variously described in the Goings on About Town department of The New Yorker as: "A man, a plan, a canal: Panama!"; "Close cover before striking match"; "Rock of ages, cleft for me"; and "Diddle, diddle, dumpling, my son John." Associate Editor Gardner Botsford explains that he gets bored writing the same straight capsule reviews of long-run shows. So did Robert Benchley when he handled theater listings for the original Life magazine in the '20s. Of Abie...
...High, where Woody Allen was a contemporary. Then came Harvard and graduate school and the first of the flops. It was called Sing Muse, a spoof on the classics that Segal was teaching, and it was written as a Harvard house musical. It was good enough to attract an off-Broadway producer, but outside the congenial connnes of the academic atmosphere it lasted only 39 performances
...always been so dolce. After years of bumming in Greenwich Village, he became, as he recalls it, "a half-assed journalist for Hearst. But they fired me because I spent too much time at Lindy's and Stillman's Gym." He made his stage debut in an off-Broadway production of E.E. Cummings' Him. Lionel appeared on radio with Fred Allen and Fanny Brice. Then he drifted into movies, where he scored as a poet-of all things-in The Scoundrel (1934). His face (complete with unmatching eyes) and gargantuan physique made him a natural...