Word: show
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Dates: during 1980-1989
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...perhaps the archetypal scene of the early civil rights struggle. Yet this particular restaging of it was a breakthrough for a quite different reason. It appeared not in a TV movie or a PBS docudrama but on a network news show...
...least less tacky. Its story on civil rights leader Johns glided smoothly between interviews with real-life colleagues and re-enacted scenes from his life. Forthcoming episodes will use re-creations to focus on such issues as AIDS, abortion and capital punishment. Chung has asserted that her show's re-creations stand apart from those on other programs. "Ours," she says, "will be of motion-picture quality...
...steamy Southland of Tennessee Williams' Orpheus Descending, which opened last week. The production, by Sir Peter Hall, former artistic director of both the Royal Shakespeare Company and Britain's National Theater, was a hit in London in December. Yet it took a risky struggle to transfer the show. Redgrave is a fervid member of a radical group called the Marxist Party; she has poured much of her income into its causes and four times stood as a candidate for Parliament representing the Workers' Revolutionary Party. That commitment helps explain why she has endured for more than a decade an unannounced...
...start, Lynn recalls, Vanessa weathered the rackety Redgraves with ego intact: "She was the only one of us who wasn't shy. If someone asked her to get up and sing, it wouldn't have bothered her for three seconds." The family's expectation that Redgrave would go into show business was tempered by her abrupt adolescent growth spurt to an eventual 5 ft. 11 in. She towered over classmates of both sexes and was considered too tall for anything but character parts. Her father had her study ballet so she would move well and tap dancing so she might...
...17th century -- the head of the wary, coarse, cunning old Pope Innocent X, in the Galleria Doria-Pamphili collection in Rome -- but he also made what is perhaps the greatest nonmythical, secular painting in all art history: Las Meninas, in the Prado. Neither is in the wonderful show of 38 paintings by Velazquez, about half lent by the Prado, which opens at the Metropolitan Museum of Art in New York City this week. Nor should they be, since such things cannot be exposed to the risk of travel. We can be abundantly grateful for what we have: the first Velazquez...