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Musical storytelling gets no better than this tragic tale of lovers divided by the end of the Vietnam war and, more deeply, by the economic gulf between the U.S. and the Third World. As a Vietnamese hustler and would-be American, Britain's Jonathan Pryce gave the performance of the year in a reprise of his West End triumph...

Author: /time Magazine | Title: Best of 1991 | 1/6/1992 | See Source »

Musical storytelling gets no better than this tragic tale of lovers divided by the end of the Vietnam war and, more deeply, by the economic gulf between the U.S. and the Third World. As a Vietnamese hustler and would-be American, Britain's Jonathan Pryce gave the performance of the year in a reprise of his West End triumph...

Author: /time Magazine | Title: Best of 1991:Theater | 1/6/1992 | See Source »

Wars rage around the the globe. A vast, tragic empire collapses. The economy constricts painfully. But ordinary life -- and extraordinary life -- goes on. People still write novels and environmental treaties, design solar cells and stage sets, orchestrate symphonies and ad campaigns. They still care about tossing a salad or a baseball superbly. From science to show biz, they exert all the passion, wit, ingenuity, game playing -- and, yes, the ego, venality and damn-fool silliness -- that keep the human enterprise steaming along so entertainingly...

Author: /time Magazine | Title: Best of 1991 | 1/6/1992 | See Source »

...army claimed it was a tragic accident. On Nov. 7 a planeload of narcotics agents from the Mexican Attorney General's office landed at a clandestine airstrip in hot pursuit of a plane from Colombia that stopped to refuel -- and turned out to contain more than 814 lbs. of cocaine. When the Mexican narcs emerged, more than 100 soldiers already on the ground opened fire, killing seven of the agents...

Author: /time Magazine | Title: Mexico: Why Did They Open Fire? | 12/16/1991 | See Source »

John (Karl Saddlemeyer), Geoffrey (Richard Claflin) and Richard Lionheart (Adam Geyer), Henry's sons, provide both comic relief and a tragic element as they struggle for the throne. Saddlemeyer's fatuous complacence amuses the audience: "I'm Father's favorite--that's what counts." Claflin shows resentment at being the proverbial second son by spitting out every sarcastic line. Geyer shows the roots of Richard's Oedipal dilemma early in the play with his seemingly inexplicable hatred of his mother...

Author: By Deborah Wexler, | Title: Intimate Exploration of a Dysfunctional Family | 12/13/1991 | See Source »

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