Word: cast
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Dates: during 1990-1999
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...show has not yet found that way. Even in her newly trimmed-down state, Lee is outrageous. But V.I.P. is swiftly paced, self-consciously flip, includes a cleverly cast celebrity cameo in each episode (Loni Anderson has appeared as Lee's mother) and, most important, contains one sexy scene and one action scene every 10 minutes...
...homes across America: "Hey, honey, let's grab the kids, fly to New York and catch that new musical The Dead!" Yet, oddly, a musicalized version of James Joyce's somber short story has been one of the most anticipated events of the off-Broadway season. A star-filled cast (Christopher Walken, Blair Brown, Sally Ann Howes) has perked up interest in what is either the most intriguing or the stupidest idea for a musical in years...
...have an 8-ft. bronze Leonardo da Vinci horse in Grand Rapids, Mich. [Letters, Oct. 18], but we also have a 24-ft. version, just like the Leonardo horse in Milan, Italy. In fact, ours is not even a copy. It was cast at the same time as the Milan horse; all the parts of the two statues are interchangeable. And thanks to philanthropist Fred Meijer, our horse provides a hands-on art experience for those who visit--art you can walk right up to and touch (not mounted on a pedestal like the one in Milan...
...zeal to promote Boston-themed plays, Altman thought he found an easy answer in the colorful Last Hurrah, the notorious parody of four-time Boston mayor James Michael Curley's last-ditch bid for re-election. What he got, however, was an unreasonably large and unmanageable cast of characters, many of whom are demoted to ornamental, cardboard cut-out status in the three-hour world of the theatre. There's Amos Force (Keith Perry), the conservative Yankee who will do whatever it takes to see the Irish mayor lose; Francis Jr. (John P. Arnold), the mayor's playboy, finger-snapping...
...With this film, Mann proves that he is at the top of his form as an actor's director. Mann's cameras work in intimate closeness with his actors. And the cast works well with Mann's studied technique, which forces them into ultra-realism under the camera's close scrutiny. But the astonishing character study that dominates the first half begins to unravel when the film, inexplicably, changes its focus from Wigand to Bergman. Just as Wigand is entering his darkest period, becoming psychologically unhinged, the film cuts away to Bergman and his struggles with the brass...