Word: off-broadway
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...RENT (the musical). Even if author-composer Jonathan Larson had not died just weeks before its off-Broadway opening, Rent would have hit like a thunderclap. A rock update of La Boheme set in the age of AIDS, it brimmed with energy, lyric intelligence and streetwise spirit. If not quite another Hair (more memorable melodies would have helped), Rent brought the old-fashioned musical resoundingly into the '90s. Then it moved to Broadway, won Tonys and...(see below...
...figured out how to take a 20% budget cut and still increase the number of loans, shedding headquarters jobs to put more people in district offices. It was a crash course for someone who had never worked outside the private sector. "I managed in the public environment, but off-Broadway," he says. "Not every mistake came under the microscope...
Life, alas, is a bit harder on these un-moneyed dinosaurs of style--all aspiring actors--than it was on the cast of Ocean's Eleven. Rob (Ron Livingston) has done Hamlet off-Broadway; now, if he's lucky, he can play Goofy at Disneyland. Sue (Patrick Van Horn), perhaps compensating for his girl's name, picks fights with punks. Even Trent (Vince Vaughn), the cute one, has problems; he's so at ease with his boyish charm, he's forgotten that maybe it's time, at 24, to grow...
...recently returned to TIME after an eight-year absence. We like to think of it as a mere hiatus--although while he was away he did manage to win Peabody and Emmy awards for his work on the MacNeil/Lehrer NewsHour on pbs, write and perform two one-man off-Broadway shows and contribute essays to such publications as the New York Times and the New Republic. He has also written a forthcoming memoir of Harvard in the 1960s. For his report on the TWA crash, Rosenblatt went to the town near the site, only 10 miles from his summer home...
...Albee and Sam Shepard came of age in an era when playwrights could be stars too. Albee's excoriating family drama Who's Afraid of Virginia Woolf? shook Broadway out of its comfy seats in 1962 and established him as the premier American playwright of the post-Arthur Miller generation. Shepard (though his work has largely been ignored by Broadway until now) was the most acclaimed and charismatic playwright to emerge off-Broadway in the 1960s and '70s (The Tooth of Crime, Curse of the Starving Class). Now both authors are being celebrated with Broadway revivals of Pulitzer-prizewinning works...