Word: broadway
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Elia Kazan, who brought Brando to fame in the Broadway production of Streetcar (1947) and directed him in Waterfront, never took credit for that or any of the other moments Brando achieved for him. "The thing he wanted from me," Kazan later said, "was to get the machine going. And once that machine was going, he didn't need a hell of a lot more." It was, of course, quite a complicated mechanism. Kazan spoke of the contrast, in Brando's work, between "a soft, yearning girlish side to him and a dissatisfaction that is violent and can be dangerous...
...America, inheritor of the Group Theater tradition (where in the 1930s Strasberg first came to controversial prominence). They had long needed a star to lead their revolution--against the well-spoken, emotionally disconnected acting style that had long prevailed on stage and film, indeed against the whole slick, corrupt Broadway-Hollywood way of doing show business...
...Wanna Be a Rock & Roll Star: How I Machine-Gunned a Roomful of Record Executives and Other True Tales from a Drummer’s Life (Broadway Books, $21.95), based on online road diaries Slichter penned while Semisonic toured, opens a good-humored conversation about an often overlooked side of fame. Neither dominating pop culture for any substantial amount of time nor laboring away without any success, Semisonic and Slichter have walked a much more subtle path. The stories he has to tell of the music business’ endless convolutions are not quite sordid, but neither are they ever...
...terrain! Too low--terrain!" In the tense final sequence, two pilots aided by an off-duty colleague from the passenger section desperately try to land a DC-10 after an explosion robs the plane of its ability to make anything but right turns. Charlie Victor Romeo, a harrowing off-Broadway play in which actors recreate voice-recorder conversations from actual airliners that crashed, is every flyer's worst nightmare times six. And it's a stark example of an increasingly popular genre: plays drawn entirely from verbatim transcripts, interviews and other real-life words...
...docu-plays aren't new. The Laramie Project (based on the Matthew Shepard killing), Anna Deavere Smith's monologues and Loose Lips, a satiric revue from the '90s, were all drawn from real-life words. But the form has lately been flexing its dramatic muscles. The Exonerated, an off-Broadway hit from 2002, fashioned a case against capital punishment by assembling interviews with former death-row inmates exonerated of their crimes. In The Permanent Way, a hit at London's National Theatre this winter, David Hare created what is likely to be the only good play ever written about...