Word: nightclubs
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Dates: during 1980-1989
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...Sister and Curiosity Killed the Cat have also made a heavy Stateside impression by concocting easeful pop that shirks issues and shrugs off anything more serious than having a good time. Major American talent like Bruce Springsteen often carries a big thematic stick, but Britpoppers wield a club -- a nightclub where the solipsism of Thatcher's England is chilled out, prettied up and danced to till dawn. If you have the world's weight on your shoulders, after all, you can't shake your booty...
Robin Williams stalks a concert stage, conning inspiration from the ether. In a nightclub, a customer's name will spark a from-nowhere verbal riff. And in the course of an hour's interview, he will miraculously inhabit the skewed brains of two dozen apparitions. Among them: a meat-eating Mahatma Gandhi, Gomer Pyle with a case of VD, Elvis Presley drafted for Viet Nam, Wheel of Fortune's Pat Sajak and, of course, a singing hunchback. Here is Williams speaking about his role as Good Morning, Vietnam's gonzo deejay: "God, it can't get any more right than...
Hart's problems run far deeper than a simple desire to let loose of the bonds of mother and childhood. Anyone who has seen the infamous National Enquirer photos of Rice sitting on Hart's lap and a clearly blasted Hart playing the congas in a nightclub cannot have come away thinking they were looking at a happy or stable...
...Porter really were to lend approval, it would be chiefly for Patti LuPone. As Nightclub Belter Reno Sweeney, she rivals the role's originator, Ethel Merman, in volume and clarity of voice, and far outdoes her in intelligence and heart. CoStar Howard McGillin has shirt-ad looks, puppyish charm and a lilting tenor. Other delights: Tony Walton's Art Deco ocean-liner set, Paul Gallo's seascape lighting and Michael Smuin's crisp choreography. The supporting cast is mostly ordinary, and Kathleen Mahony-Bennett's oomphless ingenue is not even that. The book, by P.G. Wodehouse and Guy Bolton...
...brought out by that era's economic panic. Neighbors turn into enemies. A hymnlike melody subtly alters into a fascist anthem. Leering and strutting and cackling over all is Joel Grey, reprising the performance that won him a Tony and an Oscar, as the emcee luring visitors into a nightclub -- and a nation -- succumbing to political insanity. At these moments, Cabaret seems as daring and relevant as a stage musical...