Word: playscripts
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...AFARM is a highly theoretically informed, theatrical, political performance group," said Catherine A. Corman `96, the organization's duchess. Performance is not AFARM's only venue, however. The December issue of HQ featured AFARM's "plagiarized playscript" supporting gay rights...
...helped Paul that at the end his father read the Jeffrey playscript and loved it. "It was such a sad time in our lives," Selma says. "There was no time to speak anything but truthfully. We were a very talky family at the end there." She brightens as she recalls, "Paul would come in and tell us what was going on -- sort of the Scheherazade of the hospital...
...Lords in 1971. "I believe in it as the first glamourizer of thought." That was the theater to Laurence Olivier, and that was Olivier to all who fell under the glamorous spell he wove. More immediately and lastingly than any other modern actor, Olivier picked words off the playscript page, flung them passionately into the dark and secured them in the minds of theatergoers. Brilliance, for once, had its rewards. As critic Kenneth Tynan proclaimed in 1966, "Laurence Olivier at his best is what everyone has always meant by the phrase 'a great actor.' " Director, producer, prime mover of Britain...
Only in a written playscript does Wasserstein allow herself to be assertive. In conversation, she flees from all self-important declarations of artistic intention. It takes coaxing for Wasserstein just to admit that Heidi represents her bid "to demand attention and announce, 'I have something to say, and I want you to listen.' " She is much more comfortable recalling Heidi's early off-Broadway previews when she was scared that "all the people from Isn't It Romantic would show up waiting for the chicken jokes." Here her voice breaks into a hypertheatrical tone as she parodies the reaction...
...this evaluation of the finest moments of this production seems essentially noncommittal, it is because the production offers no further evidence upon which to base a judgement. Moss and Hamlin move to a confrontation with the text, a testing of the values of the playscript in terms of the demands of a real stage and a live audience, but sadly, the confrontation never takes place. The quality of the play remains an open question, not to be resolved on the Loeb stage. The production is finally a mixed bag, triumphant in many of its details, but so deeply divided against...