Word: one-act
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ZONA ROSA and The Eighteenth Hole, a new pair of one-act plays, is best understood as a production group's advertisement to attract aspiring playwrights. Theatre In Process demonstrates that it is not picky...
Since his debut as a dramatist at the age of eight in North Plainfield, N.J., in a one-act drama starring himself, Henry has had two "abiding passions": the theater and writing. He reviewed plays for his high school paper and then for the Yale Daily News. He also took a few turns on the boards himself, acting in productions at the professional Yale Repertory Theater and in summer stock. But acting gave way to writing, on both national politics and cultural affairs, for the Boston Globe (where he won the 1980 Pulitzer Prize for criticism), the New York Daily...
...Philharmonic Orchestra; Angel.) Thanks to the translations of Baudelaire and Mallarme, the works of Edgar Allan Poe became popular in France during the late 19th century. Inevitably, they cast their spell on the imaginations of the country's leading composers; Debussy, for example, long considered writing a pair of one-act operas based on Poe's fantasies. He made a start on The Fall of the House of Usher, preparing the libretto himself, but at his death he had composed only the first scene and fragments of the second...
That indeed is the point of the play, a collection of three one-act vignettes written separately that cover six years in Arnold's life (and in Fierstein's life, as it is largely autobiographical). Stretching over 10 scenes and two intermissions in 3 hours and 30 minutes, the play is long and runs the risk of losing its audience. Occasionally, the pacing does drag and one can't help from checking the watch or fidgeting with the coat. Overall, however, the dialogue as presented by some very fine performers entices us, and we can truly empathize with Arnold...
That confrontation constituted the sum total of Lauro's one-act play produced off Broadway in 1981; one can see why she was encouraged to develop it to full length for Broadway. Calvin and Ginny may be symbolic representations, but they are also potent characters in their own right. The student's basic gentleness makes his rage, when it surfaces, all the more terrible to behold. The teacher's harassed decency makes the brisk cheer with which she tries to sell deceit to her self and her students the more poignant...