Word: playwrighting
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...playwright would be entertained less by Jenny Cornuelle's ambitious production of his bestknown work, which lacks meaning and plot, though the staging has its merits. Cornuelle's ingenuity shines through her apocalyptic set, an outdoor sandcastle lit by torches. It's clearly not the kind of sandcastle on which uplifting dreams are built. Since only futility wafts through Beckett's dreams and illusions, this purgatorial anti-Eden perfectly suits Vladimir and Estragon, the two main characters, who wander helplessly in search of the mysterious Godot...
While Morning's at Seven, now at the Lyceum Theater, first appeared on Broadway in 1939, it is not a relic from the crowded attic of nostalgia. Playwright Osborn, now 78, perceived a world with the family as its center of gravity and the blood tie as life's enduring nourishment...
...some characters play at a leisurely pace, others with greater determination. Curiously, as the intrigue unfolds, the audience begins to recognize itself on stage. In horror, or delight, spectators watch the dissection of the characters' worst sides--their own. The Grand Old Man is W. Somerset Maugham, the British playwright, novelist and essayist, and the Riviera mansion, as well as the drama, is his. Maugham in his lifetime presented his friends and acquaintances with many such little surprises. Today Ted Morgan turns the spotlight back, dazzlingly, into Maugham's eyes. Morgan, in his meticulous biography, sketches the writer...
...Covent Garden concertmaster began his own career at 16 as a classical violinist. Though he conducted London's Hotel Metropole Orchestra and his own Tipica Orchestra in concerts, BBC broadcasts and on records in the 1920s, '30s and '40s, and later became music director for Playwright Noel Coward, Mantovani was little known outside of Britain until 1951, when he created his silken "shimmering strings" effects and recorded the waltz Charmaine. The recording, monomaniacally promoted by a Cleveland disc jockey, triggered a Mantovani craze that turned his American concerts into sellout affairs and seven albums into gold (more...
...them. It's that kind of obtuse criticism that can keep a Mark Leib from ever earning a living in America, that kind of blockish stupidity that makes Broadway an artistic Petra. Terry was an extraordinarily risky play for the Rep to choose, an unknown work by an unknown playwright which, as they probably knew, merited the risk. A play like Terry by Terry completes the Janus-head that symbolizes the company, realizes the best potential of the American Repertory Theater and the frankly visionary intentions of its artistic director...