Word: parts
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Dates: during 1980-1989
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That Reagan failed even to try is perhaps the most tragic part of the legacy. By the beginning of his second term, Reagan had enough credibility to use his inspirational skill to talk straight to the American people. He could at least have attempted to confront the inequities and flaws of Reaganomics by investing some of his capital as the Great Communicator. But he passed up the chance, making it even harder for any successor to bear bad tidings...
That helps explain why Bush, rather than a right-wing populist of the original Reagan mold, will be making the acceptance speech on Thursday. By breeding and association, he is part of the Establishment that Reagan challenged in 1976 and defeated in 1980. But enough of Reagan's original agenda has been adopted to slake the most urgent thirsts of the right wing. The income-tax monster has been shrunk, the Democratic Congress is leery of huge new programs, the Viet Nam syndrome no longer paralyzes American foreign policy, and the federal judiciary has been Reaganized. "In this environment," says...
...tough-love therapist (Morgan Freeman), an A.A. veteran (M. Emmet Walsh) and a nervy fellow addict (Kathy Baker) help him see the dark before the light. Some of the early scenes ring as inauthentic as the Philadelphia accents; each supporting junkie pushes too hard, as if he were part of an Actors Lab experiment that failed. But there are home truths here. Mostly, the film shows, not preaches. And Keaton proves how fully a fine comic actor can inhabit a serious, potentially solemn film...
...father, thanks to his expertise, could more easily learn to cope. Moreover, as part of his continuing training, he was in analysis. "I broke down and cried before my analyst," he recalls. Two additional factors helped: "I had been treating a dwarf, and I am short myself." He is 5 ft. 2 in. tall...
...most part, the performers are not stars, and the attraction that draws some 450,000 theatergoers a year -- about 45% of them from the U.S. -- is the shows themselves. The staging can be as traditional as a Richard III in doublets and armor or as giddily updated as The Taming of the Shrew transported to 1950s Italy. Shakespeare, which makes up at least half the schedule, can be complemented by the sober heft of T.S. Eliot's Murder in the Cathedral or spritzed with My Fair Lady in an ingeniously extravagant production that bejewels the stage with chandeliers, dinner jackets...