Word: showing
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Dates: during 1980-1989
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...late '80s, the time has again come for a fresh cast of characters. This time their faces show the lines of age and experience because the new motto may well be MATURITY SELLS. In a new Eastern Air Lines ad, the happy vacationers cavorting on the beach are over 60. In the McDonald's commercial, the Lothario with an eye for the female customer is 75 if he's a day. And the lady who takes the Subaru for a joyride to the pulsing music of La Bamba must be pushing...
Older people now do the things in ads that they do in real life: work, play tennis, fall in love, buy new cars. "They've rejoined the American family that advertisers show us," says Frankie Cadwell, president of Cadwell Davis Partners, a Manhattan ad agency. The bride in a commercial for New York Telephone, for example, is about 60. All of the discreetly nude models in ads for Lear's, a magazine for older women, are over...
...musical called The Straw Hat Revue opened at Manhattan's Ambassador Theater. The show, which cost $8,000 to put on Broadway, featured such future stars as Danny Kaye, Imogene Coca, Alfred Drake and a young dancer named Jerome Robbins. This week -- 50 years later and four blocks south, at the Imperial Theater -- Broadway welcomes another revue, Jerome Robbins' Broadway, with another cast of young hopefuls. But everything else about this show is bigger, riskier and very late '80s. For one thing, its co-sponsor is a Japanese liquor firm. For another, it carries an all-time-high ticket price...
These days, that's show biz. But Jerome Robbins' Broadway is no ordinary show. It is an unprecedented monument, a living museum that one of Broadway's great names has erected to himself. The master shaman, now 70, presents dances from nine of the glorious musicals he directed or choreographed between 1944 and 1964. The sailors from On the Town again saunter through wartime New York, New York. The royal courtesans of The King and I restage Uncle Tom's Cabin, Siamese-style. West Side Story's Sharks and Jets strut toward one more epochal + rumble. The shtetl Jews from...
With this new show, Robbins is both appealing to Broadway tradition and bucking it. He is a man going up against his own legend -- as the premier American-born dancemaker, whose works for the ballet and Broadway suavely merged high art with pop culture. Robbins has always been a spellbinding storyteller; the narrative clarity of each movement instantly draws viewers into the roiling emotional life of his characters. In his comic ballets, visual gags fly past like precision pies in a Keystone caper. This show proves he is back where he belongs, on a street that belongs to him: Jerome...