Word: riche
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Dates: during 1980-1989
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...Harvard (how, Mike Doolittle. 2. Max Drake, 3. Austin Moure. 4. Alex Litvak. 5. Andy Hewley. 6. Rich Kennelly. 7. Gordie Gwynee-Timothy, stroke. Den Grout: cox. Ed Castro), 6:39. 2 Northeastern...
...directed by the author-it is also very fast and shrewd, one of the funniest books of the year. Much of the time, Didion seems to be laughing at her own romantic yearnings. Her heroine resembles a paper cutout Jackie Kennedy. Inez Christian Victor is the daughter of a rich, mercantile Hawaiian clan and the wife of a dashing Democratic Senator who wants to be President. In her daily life, Inez must contend with a randy husband, his groupies ("Girls like that come with the life") and standard-issue disaffected children (Jessie shoots heroin, Adlai maims people in car crashes...
...invites Lazar to his home for dinner merely to lure him out into the woods and beat him up as revenge for double-dealing in a joint film project. Allen, a friend from youth, makes a homosexual pass and later tries to borrow $5,000. Even Lazar's rich Uncle Irving seems less interested in mourning his dead sister than haggling over the cost of her funeral: "This can't be the price . . . The cemetery isn't that far. If she was alive we could all walk there...
Cliff Bradshaw (Chad Hummel), a young American author in search of a subject, is the show's male protagonist. Paris and Venice fail to inspire him so he makes his way to Berlin, a city rich with parties and nightlife. There, he is naively introduced to the subculture of the Kit Kat Klub by a pleasant-seeming young German smuggler, Ernst Ludwig (David Kirach). Calmly watching the stageshow. Cliff is masterfully seduced by its star-performer Sally Bowles (Belle Linda Halpern). And while the first act only hints at the rising Nazi power, focusing on Cliff and Sally's ensuing...
...TRULY COMMANDING presence here, though, is Belle Linda Halperb. As Sally, Halpern makes her numbers--"Don't Tell Mama" and "Cabaret" the two show-stoppers of the evening. Her powerful, rich voice, enravishing and assured stage presence, and uncommon beauty, stand out so much in this production that Cliff's denigration of Sally's talent seems quite odd. For all her escapism and childishness, he should acknowledge her powers of performance. And Halpern sensitively draws forth the unsettled and quite neurotic aspects of Sally all throughout the show. While we cannot be made to admire Sally or pass over...