Word: broadway
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...they have always been predictably expert actors. Tomei's career path is radically different. She came out of nowhere to win the supporting-actress Oscar, over more prestigious competitors, for her hilarious work in 1992's My Cousin Vinny. Then, and just as suddenly, she faded into off-Broadway plays and smallish roles in obscure films, where she also gained a reputation as "difficult." Now she's back, and damned if people aren't talking Oscar nomination again...
...genre normally confined to parades and football fields, few could have guessed that Broadway would be the next step in the evolution of marching band and drum corps. Yet having just finished its week-long run at the Wang Theatre, Blast! does just that. The show takes outdoor pageantry long consigned to the fringe of musical legitimacy and translates it into high art without sacrificing any of its popular appeal...
...that Kelly "got-ta dance", that his feet had to do their stuff? Mayer was slow coming around too; Kelly didn?t become a star until he was loaned to Columbia for "Cover Girl," where he was paired with Rita Hayworth and, behind the scenes with an old Broadway pal (actually a young one, since he was 19 at the time), Stanley Donen. Off and on, mostly on, for the next decade, Kelly and Donen would shape their film?s dances, then their dances and direction. They co-directed "On the Town," "Singin? in the Rain" and "It?s Always...
...What Kelly had in common with the Kennedys (and not with Clooney) was a compulsion to excel, to write his own history, even if it meant rewriting others?. Turning "On the Town" into a movie, he and his team threw out most of Leonard Bernstein?s Broadway score. More daring was Kelly?s decision to restage the Jerome Robbins ballet that is at the heart of (and was the inspiration for) the original show. Darn it, he?d do his own darn ballet. Similarly, he honored and caricatured the great gallery of Impressionist paintings in the ballet for "An American...
...Kelly, even more than Astaire, saw it as a sacred duty to bring art-dance to the masses, and after many hits he had the clout to persuade the MGM bosses to agree. Balanchine and Agnes De Mille were serious-ing up Broadway; why couldn?t Gene do it in pictures? He could so he did, in "On the Town," "American in Paris" and "Singin? in the Rain." These big climactic numbers didn?t always fit the tone of the story that preceded them; it was like serving Cristal at the end of a frat-house toga party...