Word: playwrightes
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...best, Miami Vice has brought to TV a swift and evocative mode of visual storytelling. Points are made through looks, gestures, music, artful composition. In one of the season's best episodes (written by Playwright Miguel Pinero and directed by Paul Michael Glaser, the former co-star of Starsky and Hutch), Glenn Frey's song Smuggler's Blues both enhances the mood and comments on a tense story in which Crockett and Tubbs pose as drug dealers to set a trap for a vicious kidnaper. In the climactic sequence, the cops race to defuse a bomb that has been wired...
...Shaws of greatest interest are the antiwarrior and the amorist. As Britain battles with the Kaiser's troops from 1914 to 1918, nationalism mounts to a frenzy. The playwright-polemicist refuses to be carried along. "War reduces us all to a common level of savagery and vulgarity," he writes to a colleague, "but at least we can shew how foolish the whole business is even from the point of view of British and German Junkerdom." In the hysteria of conflict this dual indictment earns Shaw the enmity of his countrymen. Friends cut him dead; libraries remove his books from their...
...international spy story. An American agency known as "the Firm," which may or may not be the CIA, wants to know if it should throw its support to the Sebastiani Liberation Front. To find out, it recruits none other than Russel Wren, a onetime college English instructor, would-be playwright and sometime private investigator, as well as the protagonist of Berger's 1977 Who Is Teddy Villanova? Wren's invincible innocence would seem a poor recommendation for the job. But as his recruiter points out, "Obviously if you've survived in New York City you know...
...most remarkable of the three survivors is Ma Rainey. Playwright August Wilson had never had a play produced commercially. The cast were relative unknowns. The play's subject is gloomy and its ending violent; the characters are mostly black, and the two whites are unsympathetic. Yet since it opened last October, it has played to 60% of capacity in the 1,108-seat Cort Theater, although it has not yet been able to repay its backers...
Dotson Rader, who is seen embracing Williams on the back cover of Cry of the Heart, was a close companion in the playwright's declining years. Unlike Spoto, he evokes the winsome qualities of Williams' naughtiness and ructions, the merriment as well as the anguish of that time. Rader's reminiscences are if anything raunchier and more explicit than Williams' own, and without footnotes or explanation of sources, some of his anecdotes about the peccadilloes of the famous seem too bad to be true. Beguiling as gossip, Rader's book has none of the inclusiveness or gravamen of Spoto...