Word: staging
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Dates: during 1980-1989
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...finest revival on any London stage is an Uncle Vanya (translated by Michael Frayn, directed by Michael Blakemore) that does justice to both Chekhov's hearty humor and his compassionate sadness at the waste of frustrated lives. It perceives the play's dominant tone not as lethargy but as furious, tragically misdirected energy. As Vanya, Michael Gambon demonstrates anew why he has come to be regarded as perhaps Britain's foremost stage actor. Alternately raging and lapsing into bathos, bubbling with kindness as he worsens the lives of those he most means to help, he embodies the tragedy...
...same set by the same actors. The high point is Cymbeline, with its Spielbergian supernatural touches (ghosts appearing in dreams, Jupiter descending from the heavens) and robust battles. In one chilling scene, two panels of the back wall bang open to reveal opposing armies about to pour onto the stage. The most impressive coup de theatre, however, belongs to Star Tim Pigott-Smith, a specialist in complex villains. He invades the bedroom of a sleeping princess, robs and molests her while voicing a cascading confusion of emotions -- first pride, then shame, then lust, then greed -- with the naked horror...
...piece together what happened aboard the U. S. S. Vincennes, the Iranians vent their anger and the U. S. wrestles with the issue of collective guilt. -- Tarnished but unindicted, Attorney General Meese finally bows out. -- How will Michael Dukakis, the consummate straight arrow, act on the world stage? -- Dukakis casts a wide net in search of a running mate...
...American Jazz is just not your style, then try the Latino pop festival at the Boston Common, where Gloria Estefan and the Miami Sound Machine will perform at 6 p.m. Friday night on the Common's outdoor stage. Tickets are $15.50 and $17.50 for reserved seating. Call 426-6666 or 787-8000 for more information...
...including Jose Rivera (The Promise), Lynne Alvarez (The Wonderful Tower of Humbert Lavoignet), Reuben Gonzalez (The Boiler Room) and Romolo Arellano (Tito). Like the black writers of a generation ago, the Hispanics seem to be moving beyond an initial preoccupation with anger, self-pity and reductionist politics toward a stage literature that communicates rather than confronts, that reaches for universality and yet portrays people individually. Enriching the American dramatic vocabulary with Latin techniques and traditions, these new playwrights also emulate their U.S. forebears: as in the heritage stretching from O'Neill and Tennessee Williams to Sam Shepard and August Wilson...