Word: zolas
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...good time at "Saturday Night Fever." It's those glum chamber musicals with their arid faux-Sondheim scores and glowing reviews that typically leave me cold. So when Susan Stroman - who has won raves for fare both highbrow ("Contact") and lowbrow ("The Producers") - turned to Emile Zola's dark novel "Therese Raquin" as the material for her next musical, I was expecting another succes d'estime that puts me in a bad mood...
...Zola's tragic story has been updated to post-World War II New Orleans, but the plot's basic outline has been changed little. And that's part of the hurdle the musical faces. This is a show in which the two leads (Craig Bierko and Kate Levering) wind up destroying each other; another character spends the entire second act paralyzed by a stroke; and yet another doesn't come to life until after he's dead. That "Thou Shalt Not" doesn't become a complete downer is a tribute largely to the flavorful music of Harry Connick...
...good time at "Saturday Night Fever." It's those glum chamber musicals with their arid faux-Sondheim scores and glowing reviews that typically leave me cold. So when Susan Stroman - who has won raves for fare both highbrow ("Contact") and lowbrow ("The Producers") - turned to Emile Zola's dark novel "Therese Raquin" as the material for her next musical, I was expecting another succes d'estime that puts me in a bad mood...
...reason it's the fall's most eagerly anticipated musical--is Broadway's current miracle maker, director-choreographer Susan Stroman, who won a Tony for staging Brooks' The Producers. It's not hard to see what attracted Connick to the show: it's an adaptation of Therese Raquin, Emile Zola's novel of adultery and murder, transplanted from 19th century Paris to post-World War II New Orleans, the musician's hometown. The lure for Stroman? Well, it's hard to resist a chance to achieve a theatrical grand slam: four (count 'em) hits on Broadway running simultaneously. (Along with...
There were a few exceptions to this honor roll of stupidity, mainly other painters. Impressionists such as Claude Monet, younger than he, saw Manet as their hero and leader--although he never exhibited with their group. Charles Baudelaire was his friend; Emile Zola famously defended him in 1866 and partially based the implausible chief character of his novel L'Oeuvre (The Masterpiece) on Manet--though, less famously, he changed his mind after Manet's death and called him "not a very great painter...an incomplete talent...