Word: weill
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Dates: during 1980-1989
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...Despite Weill's attempt to make Gundzinger's feminism palatable through vunerability, Clayburgh still manifests many of the unsympathetic qualities that are stereotypically ascribed to career women. She expects her lover to display inexhaustible patience as she discusses her career "breakthrough," but when she aids him with his work it is only to criticize his sentence structure. "If I could just solve this problem, I'd be in a class with Euclid or Newton," she tells her lover as they lie in bed together. One sympathizes when, at the moment of their break-up, he laments, "It would...
...TURN Directed by Claudia Weill Screenplay by Eleanor Bergstein
...Turn were a triple-A ball player, the scouting report might read:"Excellent singles hitter, moderate speed, covers a lot of ground, good prospect for the majors." Screenwriter Bergstein has a flair for funny lines that arise from the characters, and Director Weill has drawn fine performances from a large, likable cast. Some movies show, others reveal. It's My Turn is a minor revelation...
...sweet-talking and the Governor's calm imperturbability enliven a slightly sluggish first act. Kenneth Ryan plays Bill Cracker as a sulky, rughtless lump; he provides a good foil to the more aggressive and articulate Hallelujah Lil. The gang's rather indifferent voices, however, fail to do justice to Weill's music...
While Happy End is not--and should not necessarily be--a Threepenny Opera, Brecht and Weill's songs suggest that Happy End could have another face. The gang's pettiness and cowardice, the naivete and condescension of the Salvation Army sermons, Bill's amorality, Lil's sexuality--these elements of Feingold's adaptation should have been emphasized in the production. The Brecht and Weill characters, as revealed in their songs, are not the cute bumblers of Jones' production. The two paint a much crueler, darker world, a world in which the little guys squander their energies fighting each other instead...