Word: theater
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Dates: during 1980-1989
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Like any phenomenal film, Fatal Attraction transforms a theater full of strangers into a community: confidant to Dan, cheerleader to Beth, lynch mob for Alex. And they leave the movie with golden word of mouth. "I saw a lot of couples looking at each other sideways as they walked out," says Jim Stegall, 35, a Miami ad salesman. "The meaning of that look was obvious: Don't even think about having an affair." Director Lyne says, "I've had men ring me up and say, 'Thanks a million, buddy, you've ruined it for us.' " A Manhattan psychoanalyst told...
...this consumer creativity. The picture is like Velcro: any theory can attach itself to the story and take hold. As Lansing says, "It's a Rorschach test for everyone who sees it." Is Alex worth our sympathy, pity, fear, loathing, or all of the above? Outside the Evergreen Theater in suburban Chicago, Rochelle Major says, "I had to believe that Alex had been hurt deeply before. She was lonely, didn't have a family like Dan did, and when he wanted to get her out of his life, she just went nuts on him." But once the horror-movie mechanism...
After some adolescent wandering and college (William and Mary), Close moved to New York City and began acting with the Phoenix Theater Company. There she became fast friends with Actress Mary Beth Hurt, who recalls that Close's patrician reserve hid a "wild and playful" streak. Close's break was in the Broadway production of Barnum, which led to her being cast in Garp. One day she shocked the cast and crew after the production bogged down over a delicate nude scene in the boys' locker room. She suddenly stripped off her character's nurse uniform and streaked the cast...
...Happened on the Way to the Forum, as musical as his A Little Night Music, as morally inflamed as his Sweeney Todd, yet more forgiving and affirmative than anything he has written before, Into the Woods is the best show yet from the most creative mind in the musical theater today. It is also that joyous rarity, a work of sophisticated artistic ambition and deep political purpose that affords nonstop pleasure...
Into the Woods cannot change the situation by itself or even by example. For one thing, imitation is a less viable route to success in the theater than in prime-time TV. For another, only Sondheim is Sondheim. Says Composer- Lyricist Jerry Herman, author of La Cage aux Folles and Hello, Dolly: "We would all agree that Steve is the genius of the group, the one who keeps on taking the musical theater to new places." What Into the Woods does, gloriously, is make the case for what musicals might be, blending innovation and old-fashioned storytelling into an elixir...