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There's less acting to be done: this musical is very musical. With eight songs in each of the two acts, the dialogue never lasts long enough to be dull. Except when Howard Cohen's on stage. Fortunately, he has the smallest part of the six leads, although he doubles for the director of the Broadway show and the captain of the battleship. Cohen sings passably, but none of his spoken lines carry any conviction, And an actor needs conviction to get away with lines like "It's a chance in a million, but it just might work...
...squeeze most union executives must feel during their tenure. The University, of course, stands to gain from a divided union, because it reduces the union's leverage. The administration also stands to gain from refusing to deal with any union member who will fight the University at the smallest opportunity. For Charlie Crockett, the question was poignant: should he lie for the union or tell the truth for the University? For him, the answer was never in doubt...
...Welty has always been a superb comic writer. Her well-known early story, Why I Live at the P.O., is a hilarious portrait of sheer cussedness; the narrator, postmistress at "the next to smallest P.O. in the entire state of Mississippi," makes herself so obnoxious to her bizarre kinspeople that she stalks out in a huff and sets up housekeeping at her place of business. The town is then split into those who will patronize the post office and those who refuse to use the mail at all, rather than cross the family...
...computer analysis of the applicants showed that the average runner was 5 feet 4 inches, weighed 121.3 pounds, and was about 29 years old, The largest group of runners was the 25-29 age group (1760 runners), while the smallest was the over 60 group, with only 9 entrants...
What Method actor would not love to work with John Cassavetes? His films (Shadows, Faces, A Woman Under the Influence) are actors' showcases. His camera waits patiently for the smallest behavioral tic or the grandest explosion of dynamite acting. The characters he creates are compulsive talkers, walkers, smokers, prowling the urban nightscape, their lives a cacophonic symphony of desperation, their aggressions spilling out like a Bowery bum's shirttail. Cassavetes encourages openness, improvisation, the primacy of being over performing. An actor prepares, and the moviegoer watches, and Cassavetes approves. He as much as tells his cast: The screen...