Word: streetcars
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While walking the streets of Cambridge, Cahalypoints out many of the improvements that the pasthalf-century have brought: a streetcar parking lothas become a placid park next to the statelyKennedy School of Government; an old warehousestood where the bustling Harvard Coop now resides...
...challenged by a focusing exercise that involved threading a needle that he knew he had to return. "I'd also never been around actors before," says Gandolfini, "and I said to myself, 'These people are nuts; this is kind of interesting.'" After touring Scandinavia in a production of A Streetcar Named Desire ("I remember lots of old people falling asleep in dinner theaters," he says), Gandolfini immersed himself in Manhattan's downtown theater world and then started to land the kind of film roles--in True Romance, She's So Lovely--that eventually caught Chase...
...ride on the St. Charles Avenue streetcar takes visitors toward the French Quarter. The renowned Milton H. Latter Memorial Library at Soniat and St. Charles Avenue, which is on the way, is where Toole shelved books as a teen. With its crystal chandeliers, opulent ceiling murals and manicured grounds, this library takes reading to new heights of elegance...
Once upon a time, the jazz or jazz-inflected scores for movies like A Streetcar Named Desire and The Man with the Golden Arm were breakthroughs. Today the sound of a saxophone wailing in the night is as tired a film noir cliche as the battered fedora--the stuff of Carol Burnett sketches. But Blanchard, a trumpet player and film composer himself, finds new beauty and wit in the originals, fashioning mini-suites from the above-mentioned scores (and others) that shift between cinematic lushness and small-group drive. Blanchard's bruised, lyrical solo on Chinatown is a highlight...
...crisp, Michael Yeargan's sets are suitably sleazy, and Renee Fleming pours heart and soul into the role of Blanche DuBois. But Previn's well-bred score barely hints at the dark crosscurrents of obsession and desperation that made Tennessee Williams' play so naggingly memorable. This slow-moving Streetcar is tonal but tuneless, sometimes violent but never sexy. Even the bluesy bits are oddly polite--an unexpected letdown from a composer-conductor who plays first-rate jazz piano on the side. Let's face it, Williams' lush prose needs no music: it is its own opera...