Word: royals
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Dates: during 1980-1989
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...surface the two writers, separated by time and culture, seem wholly unrelated. The American is a sensual naif; the Anglo-Irishman is a sophisticated puritan. Twain is happy for small favors; Shaw is ungrateful for major rewards. Presented with the 1925 Nobel Prize for Literature, Shaw informs the Royal Swedish Academy that their award is a "lifebelt thrown to a swimmer who has already reached the shore in safety." Shaw's dramas brim with advocates of free thought and liberal policy, but his correspondence reveals him as a fool of the new totalitarians. Adolf Hitler is a "wonderful preacher...
...visible, as the Soviet Union projects a fresh image to the world in the person of Raisa Gorbachev, the wife of General Secretary Mikhail Gorbachev. Intelligent, urbane and outspoken, she leads a fast-paced, glamorous life that is as elusive to most Soviet women as the pomp of the royal family is to most Britons. Hailed abroad as the new Soviet woman, Mrs. Gorbachev is perceived as her country's first female superstar since the days of Alexandra Kollantai and Inessa Armand, both early feminists, and Nadezhda Krupskaya, Lenin's wife, more than a half- century...
...dance number about slaughtering a pig -- a number of critics nonetheless expected the show to find an audience and thrive. That was what had happened, despite savage reviews from London critics, during a four- week British trial run at the Stratford-upon-Avon home of the co-producer, the Royal Shakespeare Company. And night after night during Broadway previews, while some audience members laughed derisively, others thundered applause for the pelvic dances, the pyrotechnic effects and the open-throttle singing of Stars Linzi Hateley and Betty Buckley...
...million, primarily by British and West German investors who had scant Broadway experience. But runaway costs reached, by some accounts, about $8 million, attributable partly to the high-tech fashion in current musicals, partly to the complexity of multinational production, partly to old-fashioned indulgence. Says the Royal Shakespeare Company's artistic director Terry Hands, who staged the show: "It started to be loaded with lavish trappings, none of which I believe were necessary." Sources involved in financing the project estimate that the show's design elements alone cost nearly $4 million, including about $1 million each for costumes, sound...
...Royal Shakespeare Company was paid for mounting Carrie as part of its season, and thus secured a profit of roughly $500,000. As a result of the unusual transatlantic production, there was a hefty bill for the transport and lodging of the creators and the Anglo-American cast. On Broadway, some 20% of each week's box-office income was set aside for royalties to the creative team, including Novelist King, who otherwise had no role in the show. Another debated expenditure was $500,000 plus for a print, poster and TV ad campaign in New York City before...