Word: playwrights
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Dates: during 2000-2009
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...more than just having a store that sells vintage and new; the two really inform each other," says Dana Foley, a former playwright who designs the Foley line for Foley & Corinna, while her partner, Anna Corinna, scours the globe for vintage pieces. "Seeing girls pick out vintage, you get a feel for the trends," Foley observes. "Two years ago, girls were buying ripped Victorian lace, and the next season you were seeing it on the runway...
...Martin] was really interested in making the Huntington more pertinent to American theater as a whole, to the artists who lived and worked in this city and to the American playwright,” says Ilana Brownstein, the Huntington’s literary manager, whom Martin hired. “We don’t look to do experimental, directorial-vision plays, which the ART does. Our theater looks toward the playwright and the play as text: How do we mount a production that is not experimental, but reimagines...
Most Ludicrously Overrated Performance: Diane Keaton, nominated for Best Actress, really is a gifted performer, which makes her misinterpretation of her character in Something’s Gotta Give all the more surprising and insulting. Playing an intelligent and successful 50-something playwright, Keaton’s Erica Barry falls for Jack Nicholson’s dirty old music agent like it’s 1964 and he’s a Beatle. They get it on, then he freaks out and dumps her. Are general filmgoers, much less the movie’s middle-aged target audience, really supposed...
...Martin] was really interested in making the Huntington more pertinent to American theater as a whole, to the artists who lived and worked in this city and to the American playwright,” says Ilana Brownstein, the Huntington’s literary manager, whom Martin hired. “We don’t look to do experimental, directorial-vision plays, which the ART does. Our theater looks toward the playwright and the play as text: How do we mount a production that is not experimental, but reimagines...
...single white-room set, tries to find a cinematic fluidity using sliding walls to cut between scenes, while film clips of happy couples reminiscing (a successful device in the original) are often projected on a screen in front of the set. It's a good try, but since playwright Marcy Kahan uses much of Ephron's screenplay verbatim there are too many rapid-fire scenes. Every setting change, however brief, disrupts the momentum, and the effect is wearying. The cinematic production simply emphasizes Kahan's failure to find a way of making this work in the theater...