Word: theater
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Dates: during 1970-1979
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...responsibility for editing major stories on the movies' Kramer vs. Kramer (Dec. 3), television's Mork (March 12), ballet's Gelsey Kirkland (May 1, 1978), and the job calls for Martha Duffy. As senior editor of TIME's Cinema, Music, Dance, Show Business, Television and Theater sections for the past five years, she is in effect the magazine's performing arts expert...
...Playwright Sherman is not proselytizing. He wants to show us the brute cost of survival, the deep need and sustaining force of human affection in dire adversity and the taxing journey to the root core of one's identity. The play at Manhattan's New Apollo Theater achieves these ends, thanks in part to an arresting performance by Film Actor Gere (Looking for Mr. Goodbar, Yanks). Even greater thanks are due David Dukes for his extraordinarily intuitive portrayal of Horst, a man rounded up by the state for having signed a petition demanding rights for "queers...
...Dukes stand several feet apart, not facing each other, and go through an explicit verbal depiction of oral sex all the way to its climax. Bent is not "entertainment" as the word is customarily used, but in its tensile strength and nervy risk taking, it is audacious theater.-T.E. Kalem
This is the first play by Kentuckian Marsha Norman but it is worth a trip to the Theater de Lys on Christopher St. to see how she has combined these lives into one soul. Dale Soules plays Arlene, a wiry woman locking out her past, anxious to deal with the daily pain of life in the real world without resorting to crime, without ugly language, without her old self--Arlie. Simultaneously, Julie Nesbitt carries on as Arlie, Arlene's violent past personified in this small but gutsy, foul-mouthed girl who hates authority and only loves for cash...
...what to do with the criminal. Getting Out explores not only evil but the failures of the American system to prepare an inmate for a life beyond bars. Tautly written and brilliantly acted, Getting Out vividly breaks free of the insidious revived camp that plagues much of New York theater this year...