Word: staging
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Dates: during 1980-1989
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...early and preparations are under way to handle the traffic. Gardeners spruce up the lavish Christmas decorations, guards sip coffee, and guides tug at their jackets as the first visitors ascend the curving drive. Ready, Teddy -- it's show time at Graceland, and Elvis Presley, who knew how to stage a stunner, would have loved every lucrative, down-home, star-spangled minute...
...trophy room, a low building beside the house, where Elvis used to keep his slot-car racetracks, visitors are reminded of what all the shoutin' is about. Some 150 of Elvis' gold and platinum records, including Hound Dog and Heartbreak Hotel, range down a long corridor. His film and stage costumes, from tailored black leather to elaborate Las Vegas numbers, adorn faceless mannequins. Some women with an eye for fashion think the white jumpsuits have been taken in beyond the dimensions necessary to fit the porky Elvis in his final years. Guides stoutly deny...
This revival, staged by Gregory Mosher, director of the Lincoln Center Theater, cannot entirely recapture the liberating novelty that the first audiences found in Wilder's disdain for sets, props and other devices of illusion. But the production vividly evokes both his playful belittling of narrative and the irresistible appeal of his storytelling. Monologist Spalding Gray brings a feisty and brooding quality to the customarily benign stage manager: if his halfhearted attempts at a New Hampshire accent fail, the laughs he evokes are both frequent and authentic to the text. Film actors Eric Stoltz (Mask) and Penelope Ann Miller (Biloxi...
...with him. This time I was publicizing The Sensuous Dirty Old Man, so I came out with a bra over my eyes . . . It was the silliest thing I ever did on television, and I was sorry I had agreed to do it even as I stepped out onto the stage...
When the biggest hand of an operatic evening is not for the singers -- Leona Mitchell as the eponymous Ethiopian slave girl, Placido Domingo as her hapless Egyptian lover Radames -- but for towering sets and slick stage machinery, then the era of content-free opera is at hand. Under the artistic direction of James Levine and departing general manager Bruce Crawford, the Met has ( suffered from a hardening of its arteries, offering up one lumbering spectacle after another without much apparent thought as to whether they make artistic sense...