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...rethinking the Broadway business in creative ways. Livent has set aside a block of VIP seats for each performance of Ragtime; at $125 a pop, high rollers get access to such amenities as a private lounge, free drinks and bathrooms that don't have lines snaking into the orchestra pit. To satisfy the overwhelming demand for Lion King seats, Disney chairman Michael Eisner has suggested starting a second company in the same theater to give extra matinee performances on weekends and nights when the theater is now dark...

Author: /time Magazine | Title: Theater: Hooray, Big Spenders | 1/26/1998 | See Source »

...course, the newest and most popular kid on the information age block--the Internet--has a bottomless pit of useless information ranging from self-aggrandizing "homepages" to www.nosepicker.com...

Author: By Baratunde R. Thurston, | Title: TechTalk | 1/12/1998 | See Source »

...remember was that only the strong survive. Eventually he was also a contributor to the liberal daily PM, which put him in the company of literary tough customers like Dorothy Parker and Dashiell Hammett and which reproduced Weegee's prints in a way that did justice to their tar-pit blacks...

Author: /time Magazine | Title: Photography: Dames! Stiffs! Mugs! | 1/12/1998 | See Source »

...film is an elaborate, fitfully funny Tarantoon about chatty folks with big guns. Working reverently from Elmore Leonard's novel Rum Punch, the writer-director tosses half a dozen wary people into the pit of their avarice and lets us guess who will survive. Pam Grier's title character is a flight attendant running money from Mexico to California for her drug boss Ordell (Samuel L. Jackson), who is variously inconvenienced by his lazily taunting girlfriend (Bridget Fonda), his low-IQ henchman (Robert De Niro), an eager fed (Michael Keaton) and an aging bail bondsman (Robert Forster), whose creased face...

Author: /time Magazine | Title: CINEMA: DECK THE PLEX WITH TARANTINO | 12/22/1997 | See Source »

Even before the curtain went up, the Boston Conservatory's "Die Fledermaus," at the Emerson Majestic, offered a visual treat. Because of the lighting in the orchestra pit, conductor Ronald Feldman's shadow covered the entire right wall of the theater. As the overture progressed, one sensed with delight the contrast between the unintentionally sinister apparition and the music's light waltzes...

Author: By Matthew A. Carter, CRIMSON STAFF WRITER | Title: Ringing in the New Year With Booze, Babes and Bats | 12/12/1997 | See Source »

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