Word: witnesses
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...first half of the play, A is a dotty old woman, a shadow of her former self, though the stories she recounts intimate what she was like when she was younger. Traces remain of the imperious manner, regal bearing and caustic wit, but they are interspersed with instances of memory loss, sudden fits of tears and humiliating moments of incontinence. At the close of the act, she suffers a stroke. In the second act, the full character is fleshed out, as B and C reappear in 1950s and 1920s dress, respectively. The dowdyish assistant has become the sophisticated, fiftyish...
...television is now a white young professional who lives in Manhattan and goes out on unfortunate blind dates; bizarrely, all four of NBC's high-rated Thursday-night comedies (Friends, The Single Guy, Seinfeld and Caroline in the City) are in that vein. Fox at least had the wit to set Partners, one if its twentysomething shows, in San Francisco. But then again, its ratings stink...
...difficult to imagine anyone would be pissed about a play's out come after meeting Wasserstein in person and being treated to her sanguine laughter, her quick wit and affable desire to entertain and charm at the same time. Her artistry and personality seem directed toward the same personal, not political...
...wit was famous throughout Leverett House, according to House Master John E. Dowling...
...team--both lyricist and composer--he's likewise a nonpareil. More than the other great Broadway composers, he produces songs that are both detachable and undetachable from the shows they appear in. Detachable because his lyrics are, in their wit and dexterity, satisfyingly autonomous; they appear in anthologies of light verse and books of contemporary poetry. Undetachable because his songs, usually integrated tightly into the plot line, often lose resonance on their own. It's no accident that Sondheim has originated only one tune--Send in the Clowns--that can be sure of raising a roar of recognition when...