Word: playwrighting
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Dates: during 1990-1999
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...history?s footnotes now, but in her heyday Clare Boothe Luce was, after Eleanor Roosevelt, the most talked-about woman in America. TIME Critic John Elson writes that Boothe seemingly had it all: she was a headlining journalist (for Life and the original Vanity Fair); a successful playwright (?The Women?); a two-term Congresswoman from Connecticut; and later U.S. ambassador to Italy. She had a merciless wit and stunning looks to go with her smarts. Drawing on interviews with family, friends and Luce herself, as well as her papers in the Library of Congress, ?Rage for Fame: The Ascent...
...year Hollywood discovered sound. Any actor who could talk, any playwright who could write talk, was worth hundreds of thousands. But the man who would revolutionize movies with a talking mouse was having a hard time raising the $18,000 for his first talking picture--a thing with a mouse. To get his Steamboat Willie sound track recorded on the equipment owned by a con artist named Pat Powers, Walt Disney agreed to let Powers distribute his cartoons. Mickey Mouse was an instant star, but Disney saw little cash from Powers. From this he learned to trust no one. Walt...
...Producer-director Ivan Reitman's film never develops into much more than a situation, notes TIME's Richard Schickel, a situation with the sole rationale of placing smooth, sardonic Billy Crystal, playing a successful lawyer named Jack Lawrence, in close, impatient proximity to Robin Williams, playing a failed playwright-poet named Dale Putley. "You know from the outset that their quest will quickly become a shared one, that the hip careerist and the careerless former hippy will bicker and ultimately bond. You can?t say the script by Lowell Ganz and Babaloo Mandel makes the most of this contrast...
...Glass Menagerie. An old chestnut by our favorite postmodern American playwright, Tennessee Williams. Tickets: $5 students, $7 everyone else. Agassiz Theater...
...great feat of Equus that, despite this horrifying premise, the play succeeds in forcing even the most confident judge of right and wrong, crime and punishment to hesitate on this last question. Written by playwright Peter Shaffer, Equus grabs hold of that mysterious pointer on the moral compass and sends it spinning out of control. In a welcome if somewhat disconcerting departure from the tidy morality tales so often dished out on stage, the production of Equus performed last weekend at the Loeb Ex baffled, bewildered, but ultimately satisfied by feeding that questioning voice within...