Showing posts with label broadway theatre archive. Show all posts
Showing posts with label broadway theatre archive. Show all posts

2/16/2012

Scarecrow (Broadway Theatre Archive) (1972) Review

Scarecrow (Broadway Theatre Archive)  (1972)
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What a pleasure to revisit this first-rate production after its 30 years in obscurity. Funny, serious and haunting "Scarecrow" is the colorful tale of a bewitched scarecrow, falsely disguised as the image of true love, and the awakening of his heart's desire to seek and claim his soul as his own.
This production is worth viewing just to enjoy Gene Wilder's compelling and earlier performances and he is joined by an impressive cast.
Pete Duel, as the real image of true love, provides important balance as the story's sole voice of truth and reason to Blythe Danner's spellbound maiden and Wilder's beguiling scarecrow. Will Geer as the central target of Norman Lloyd's Devil and his disciple, Nina Foch, are all perfection and terrific fun.

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By Percy MacKaye. In a 17th century Massachusetts town, a scarecrow is magically transformed into a man and charged with the mission of destroying true love. Spectacular performances by two-time OscarÂn a 17th century Massachusetts town, a scarecrow is magically transformed into a man and charged with the mission of destroying true love. Spectacular performances by two-time Oscar®-nominee Gene Wilder (Young Frankenstein, The Producers)and Tony® Award-winner Blythe Danner (Butterflies Are Free). Also starring Norman Lloyd and Will Geer (The Waltons).

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2/14/2012

Alice at the Palace (Broadway Theatre Archive) (1982) Review

Alice at the Palace (Broadway Theatre Archive)  (1982)
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Finally, the musical Alice at the Palace is available on both DVD and VHS! I have been looking for this musical for almost 20 years, and am so delighted to have found it at Amazon[.com]. The musical stars Meryl Streep and has a talented supporting cast that helps her bring Alice in Wonderland and Through the Looking Glass to life in one musical.
Alice at the Palace appeared on TV in 1982, and at that time my family had a Beta tape recorder, so Alice was immortalized on tape. At some point the last 10 minutes were recorded over and it was transferred from Beta to VHS. Ever since it aired, my family has been on a quest to obtain a copy of the full musical...and at times I was desperate enough to go searching for just the transcript to read and relive it.
Alice at the Palace is low on grand theatrical gimmicks and high on incredible talent, songs, acting, and humor. It's a delight for both adults and children. I give it two thumbs up and five stars out of five for sheer entertainment. You'll be singing the songs for years afterwards....my family did.
And for anyone who says, "Meryl Streep? In a musical? Singing??!" I say, "Just wait..."

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This "music hall" version of Lewis Carroll's Alice in Wonderland and Through the Looking Glass was adapted for television from Elizabeth Swados' Joseph Papp/New York Shakespeare Festival production entitled Alice in Concert for which Swados also composed the score, adapted the book and directed for the stage. Starring Meryl Streep and featuring Debbie Allen and Betty Aberlin, Alice at the Palace is an entertaining and shrewdly conceived retelling of the Carroll classics with all of the beloved characters--from the Mad Hatter and the Cheshire Cat to the Queen of Hearts--given a unique twist by the witty and charming performances of an accomplished theatrical ensemble. Alice at the Palace was originally broadcast as part of NBC-TV's "Project Peacock" series in 1982.

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2/13/2012

Arkady Leokum's Enemies (Broadway Theatre Archive) Review

Arkady Leokum's Enemies (Broadway Theatre Archive)
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Enemies is a wonderful two character, one-act, 45 minute play from the Kultur Broadway Theatre Archives. The setting is a small restaurant in the Catskills, 1971. The two characters, well into their senior years have encountered one another for five years. Gittleman (Sam Jaffe) is a waiter who has to put up with the demanding, harsh and critical insults of customer Miller (Ned Glass), who makes his frequent visit, as he puts it, to eat before the riff raff comes in.
For five years, Miller criticizes the food, the hygiene, the coffee, the menu, the establishment and the final blow is to refer to Gittleman as a lowly waiter who Miller has had to train! Clearly Gittleman and Miller are not friends. Miller is a widowed man has merely enjoyed the pleasures of life that "discount hours" have brought him, clearly a lonely and less expensive existence. But he flaunts a different lifestyle filled with success and happiness. Gittleman is a hard-working family man.
It is the turn of events that makes this play a gem! The two veteran actors have starred in television and movies for years. Ned Glass is known also for his nasal voice while Sam Jaffe for his wild white hair. The two actors both died in 1984. Arkady Leokum is popular for his Tell Me Why: Answers to Hundreds of Questions Children Ask. If you care to see another great play by him, try Neighbors (Broadway Theatre Archive) ....Rizzo


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Arkady Leokum's short humorous play is based on theauthor's experience as a waiter at a Catskills resort. Sam Jaffe stas as a long-suffering waiter who finally turns the tables on an intolerable regular customer (Ned Glass).

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Incident at Vichy (Broadway Theatre Archive) (1973) Review

Incident at Vichy (Broadway Theatre Archive)  (1973)
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Set in a holding room Vichy, France, in 1942, this powerful play by Arthur Miller introduces nine men who have been picked up on suspicion that they are Jews or Jewish sympathizers. Waiting to be questioned are an actor, a waiter, a businessman, a psychoanalyst, a Marxist railroad worker, a gypsy, an ancient Hasid, a fourteen-year-old boy, and an Austrian prince. As they talk and begin to share bits of information, Miller examines the tendency of ordinary men to become immobilized when faced with "an atrocity...that is inconceivable," to refuse to believe that such behavior can possibly happen in a civilized world. At the same time, he also examines those others, the Nazis and their collaborators in France, who serve an ideology, not mankind, those who subordinate themselves so completely to an abstract concept that they believe "there are no persons anymore."
Directed by Stacy Keach, who also wrote the background music, the production features a talented cast, including Rene Auberjonois as the actor, Allen Garfield as the panicked and fatalistic artist, and Andrew Robinson as the German major who has second thoughts about his role. Harris Yulin shines in the very demanding and crucial role of the psychoanalyst Leduc, and his confrontation with Richard Jordan, as the Austrian prince who has failed to act when he had the chance, is heart-stopping. The external action takes place with only one set and virtually no props, focusing the audience's attention on the characters' intense psychological crises, through which Miller examines the tendency of men to believe that the world is essentially rational. Gradually, the truth about the waiting train and its destination emerges, and the sense of horror becomes palpable.
As the men, one by one, disappear from the set, the drama focuses on the psychoanalyst and the Austrian prince, one Jewish and one Christian, one of whom wants desperately to live, and the other of whom has already attempted suicide. Beautifully paced, with a very moving climax, the play is an unusually sophisticated treatment of the Nazi horrors. Miller does not see events purely in black and white, showing instead that everyone creates his own reality to keep from accepting the unthinkable. Written in 1964, while Miller was representing the New York Herald Tribune at the Frankfurt war crimes trials of officials from Auschwitz, this play is Miller's creative reaction to the atrocities he has heard first-hand--and one of his most powerful plays. Mary Whipple


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Item Name: Incident at Vichy (Broadway Theatre Archive); Studio:Kultur Video

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1/29/2012

Sty of the Blind Pig (Broadway Theatre Archive) Review

Sty of the Blind Pig (Broadway Theatre Archive)
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This 1974 production by the Negro Ensemble is a powerful play with emotional characters, gospel music, and unrequited love. The setting is the Warren apartment bound for demolition, on the southside of Chicago. It is occupied by an elderly mother, Weedie Warren, and her spinster daughter Alberta.
Visiting periodically is Weedie's brother, Uncle Doc, played by Scatman Crothers, a drinker, a smooth dresser and he loves to play the numbers. Alberta is also a drinker, pill popper, frustrated, and has been driven up the wall by her overbearing and meddling mother, who calls Alberta a whiskey head.
While mother goes back to the south for a convocation, she observes the civil rights movements and its uprising, something not quite in Chicago yet. Meanwhile, a street singer named Blind Jordan wanders the neighborhood, looking for a woman he knew. Alberta invites him in and soon befriends him.
Witness a powerful performance, possibly 10-12 minute soliloquy by Alberta as she recites her most memorable obituary she wrote for a love she craved, Emmanuel Fisher. Then, she displays the sexual frustration reliving her angst at his funeral. This performance by veteran actor Mary Alice is worth the watch.
The play's title Sty of the Blind Pig is in actuality a house of ill repute that Blind Jordan tells about, where women, whiskey and food were sold. We also learn more of Weedie's past.
Because of Weedie's faith, gospel music is often heard in the background, such as Precious Lord, Farther Along, and Amazing Grace. The actors have all had extensive television experience. This is a wonderful play. Writer Phillip Hayes Dean has also written Freeman (Broadway Theatre Archive), where a black man struggles to break the stigma of being black in the 70s. .....Rizzo


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Philip Hayes Dian's play is about an uprooted black family from the South, living in Chicago at the start of the civil rights movement. Stars Mary ALice, Richard Ward, Maidie Norman, Scatman Crothers.

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1/25/2012

Steambath (Broadway Theatre Archive) (1973) Review

Steambath (Broadway Theatre Archive)  (1973)
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I first saw this TV adaptation of Bruce Jay Friedman's offbeat off- Broadway play on PBS Channel 28 in 1973 and was impressed not only by Valerie Perrine's nude shower scene but by the rest of the cast (Bill Bixby, Herb Edelman, Jose Perez, Shirley Kirkes, et al) and the bizarre story line -- an odd assortment of strangers find themselves in a Steambath, not knowing how they got there or why. The attendant seems to be the only one who has a purpose there. A terrible purpose, we learn as the plot unfolds! I saw this TV play twice back then and as far as I know it has never been shown since. But at least it's available now on DVD. I recommend it to all who enjoy a good comic fantasy with some serious overtones. The image quality is good, though a little soft (perhaps because it's in a Steambath?) but there are no bonus features except for some trailers for other Broadway plays available. Enjoy this effort from the early days of PBS when it was bold, daring and innovative -- you never saw anything like this on network TV back in those days!

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1/24/2012

Zalmen or the Madness of God (Broadway Theatre Archive) (1975) Review

Zalmen or the Madness of God (Broadway Theatre Archive)  (1975)
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Most familiar with the works of Elie Wiesel will think of his memorable semi-autobiographical novels, his two-volume memoir or his long and unflagging effort to bring the issue of human rights--not only Jewish human rights--before the eyes of the world. Here, we see a different Wiesel, even different than the man who stood up to Ronald Reagan when he urged him (unsuccessfully) not to visit Bitburg. it is not so much that his theme--the plight of oppressed Jews-- is unfamiliar. Rather, it is how it is revealed. Not only is it a play, and brilliantly cast, but, as some may remember from its appearance many years ago on PBS, it focuses us on post-World War II history, the struggle of Jews in freshly post-Stalinist Russia. Joseph Wiseman is the old Rabbi of the town who has nearly given up hope of ever seeing his people breath the brisk air of freedom, and, at the same time, grieving for his spiritually wayward daughter, while he and his neighbors and congregants alike cow-tow to the local officials who gently strong-arm them to behave and shut up. Richard Bauer, as the synagogue beadle, and crazy like a fox, tries to lift Wiseman out of his spiritual malaise and speak out. There is great humanity here, and--please--it is not just for a Jewish audience, much like, I would argue, is the case with most of the Wiesel canon. Watch this and be changed.

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Set in a post-Stalinist Russian synagogue on the eve of an appearance by a Western actring troupe, Elie Wiesel's play has been described as a cry of anguish about the collective guilt of"the Silent". Stars Dianne Wiest, Robert Prosky,Joseph Wiseman.

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1/17/2012

Samuel Beckett's Happy Days (Broadway Theatre Archive) (1980) Review

Samuel Beckett's Happy Days (Broadway Theatre Archive)  (1980)
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Irene Worth was a great actress. When teamed with Samuel Beckett's words, it is an experience to be treaured. True, Beckett is not for everyone. But for anyone with a brain, a heart, a soul, and a sense of humanity, Beckett connects. Those who don't "get" Beckett tend to hate Beckett and that's too bad. For the rest of us, Beckett hits a chord, creates a visceral reaction, illuminates the abyss. And Miss Worth (whose name was pronounced Irene-y, just as it is in England, where she spent a great deal of her career) is simply delightful to watch, as she always was. She combines the sadness, optimism, coyness, despair, beauty, and humour that is Winnie, in a way that few actresses could hope to do.

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Suffused with tenderness, lucidity, and humor, Samuel Beckett's Happy Days is a comedy in pure, music-hall style. Legendary three-time Tony Award-winning actress Irene Worth (Lost in Yonkers) stars as Winnie, an optimist who--deep down--senses she has little to feel "happy" about, though she never allows a day to pass without looking her best and hoping for better. Worth gives a tour-de-force performance as she chatters incessantly and cheerily on a variety of subjects, portraying Winnie as the embodiment of humankind's nobler virtues: wise, just, majestic, and committed to her conviction that "this will have been a happy day."

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1/12/2012

Incident at Vichy (Broadway Theatre Archive) (1973) Review

Incident at Vichy (Broadway Theatre Archive) (1973)
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Set in a holding room Vichy, France, in 1942, this powerful play by Arthur Miller introduces nine men who have been picked up on suspicion that they are Jews or Jewish sympathizers. Waiting to be questioned are an actor, a waiter, a businessman, a psychoanalyst, a Marxist railroad worker, a gypsy, an ancient Hasid, a fourteen-year-old boy, and an Austrian prince. As they talk and begin to share bits of information, Miller examines the tendency of ordinary men to become immobilized when faced with "an atrocity...that is inconceivable," to refuse to believe that such behavior can possibly happen in a civilized world. At the same time, he also examines those others, the Nazis and their collaborators in France, who serve an ideology, not mankind, those who subordinate themselves so completely to an abstract concept that they believe "there are no persons anymore."
Directed by Stacy Keach, who also wrote the background music, the production features a talented cast, including Rene Auberjonois as the actor, Allen Garfield as the panicked and fatalistic artist, and Andrew Robinson as the German major who has second thoughts about his role. Harris Yulin shines in the very demanding and crucial role of the psychoanalyst Leduc, and his confrontation with Richard Jordan, as the Austrian prince who has failed to act when he had the chance, is heart-stopping. The external action takes place with only one set and virtually no props, focusing the audience's attention on the characters' intense psychological crises, through which Miller examines the tendency of men to believe that the world is essentially rational. Gradually, the truth about the waiting train and its destination emerges, and the sense of horror becomes palpable.
As the men, one by one, disappear from the set, the drama focuses on the psychoanalyst and the Austrian prince, one Jewish and one Christian, one of whom wants desperately to live, and the other of whom has already attempted suicide. Beautifully paced, with a very moving climax, the play is an unusually sophisticated treatment of the Nazi horrors. Miller does not see events purely in black and white, showing instead that everyone creates his own reality to keep from accepting the unthinkable. Written in 1964, while Miller was representing the New York Herald Tribune at the Frankfurt war crimes trials of officials from Auschwitz, this play is Miller's creative reaction to the atrocities he has heard first-hand--and one of his most powerful plays. Mary Whipple


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Item Name: Incident at Vichy (Broadway Theatre Archive); Studio:Kultur Video

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1/11/2012

The Journey of the Fifth Horse (Broadway Theatre Archive) (1966) Review

The Journey of the Fifth Horse (Broadway Theatre Archive)  (1966)
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Winner of an Obie Award in 1966 for his role as Zoditch in this play by Ronald Ribman, Dustin Hoffman reprises his role here in his first television appearance, an adaptation for NET Playhouse, directed by Larry Arrick. Hoffman is the neurasthenic "first reader" of a small publishing house in Petersburg, Russia, at the turn of the century. Speaking with a high-pitched, nasal whine and with posture resembling a crane--shoulders stooped, head forward, stomach protruding--Zoditch/Hoffman is "an interruption in everyone's conversation," a man who has no friends, no ability to relax, no lady-love, and no promise for the future.
When a housekeeper (fussily played by Charlotte Rae) brings him the diary of Nicolai Chulkaturin, which was left to her when he died, Zoditch at first rejects it but is ordered to read it at home. Chulkaturin (wonderfully played by Michael Tolan), a young man who has just died of tuberculosis, emerges from the pages of the diary and soon reveals that he, too, believes himself to be the equivalent of a "fifth horse," a superfluous addition to the coach of life. When, unexpectedly, Chulkaturin meets a young woman with whom he falls in love (Susan Anspach), his life changes, until a captain in the army sweeps her off her feet.
As the action moves back and forth between the lives of Zoditch and Chulkaturin, the reader observes innumerable parallels between them. In many ways Chulkaturin is what Zoditch wishes he could be--tall, handsome, and in love. Since Anspach and several minor characters plays dual roles both in Chulkaturin's story and in Zoditch's life, the idea of Chulkaturin as Zoditch's alterego expands.
Adapted from a story by Ivan Turgenev, the play offers a bleak reality and, in its conclusion, dark humor, which puts Zoditch's yearnings and false hopes into perspective. Though Hoffman won the Obie, Michael Tolan's acting is equally good--more subtle and less one-dimensional. Susan Anspach is both ingenuous and sexy in her two roles, and Catherine Goffigan as Zoditch's landlady is a scene stealer and wonderful foil for Zoditch. Beautifully produced and movingly acted, the play brings to life turn of the century Russian values and an ineffective little man who feels like the "fifth horse." Mary Whipple


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The trailblazing genius that is Dustin Hoffman is hugely apparent in this, his first starring role on television. Originally produced Off-Broadway, Dustin Hoffman recreates his Obie Award-winning portrayal of Zoditch, a lonely, minor functionary in a publishing house. "Towering performances by Dustin Hoffman and Michael Tolan." --The New York Times. With Charlotte Rae, Michael Nolan, Susan Anspach, and William H. Bassett.

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1/07/2012

Zalmen or the Madness of God (Broadway Theatre Archive) (1975) Review

Zalmen or the Madness of God (Broadway Theatre Archive) (1975)
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Most familiar with the works of Elie Wiesel will think of his memorable semi-autobiographical novels, his two-volume memoir or his long and unflagging effort to bring the issue of human rights--not only Jewish human rights--before the eyes of the world. Here, we see a different Wiesel, even different than the man who stood up to Ronald Reagan when he urged him (unsuccessfully) not to visit Bitburg. it is not so much that his theme--the plight of oppressed Jews-- is unfamiliar. Rather, it is how it is revealed. Not only is it a play, and brilliantly cast, but, as some may remember from its appearance many years ago on PBS, it focuses us on post-World War II history, the struggle of Jews in freshly post-Stalinist Russia. Joseph Wiseman is the old Rabbi of the town who has nearly given up hope of ever seeing his people breath the brisk air of freedom, and, at the same time, grieving for his spiritually wayward daughter, while he and his neighbors and congregants alike cow-tow to the local officials who gently strong-arm them to behave and shut up. Richard Bauer, as the synagogue beadle, and crazy like a fox, tries to lift Wiseman out of his spiritual malaise and speak out. There is great humanity here, and--please--it is not just for a Jewish audience, much like, I would argue, is the case with most of the Wiesel canon. Watch this and be changed.

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Set in a post-Stalinist Russian synagogue on the eve of an appearance by a Western actring troupe, Elie Wiesel's play has been described as a cry of anguish about the collective guilt of"the Silent". Stars Dianne Wiest, Robert Prosky,Joseph Wiseman.

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1/06/2012

Let Me Hear You Whisper (Broadway Theatre Archive) (1969) Review

Let Me Hear You Whisper (Broadway Theatre Archive)  (1969)
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Ruth White was a Broadway stage, film, and television actress with an enormous range of talent. None better than in this 70 minute display. She plays a lonely night cleaner in a science laboratory. She befriends the dolphin and they form a unique communication between them that they understand. The dolphin represents her in many ways. The dolphin is trapped in a pool of water with no where to go. He wants to go to the sea and Ruth's character would do anything for him. If the dolphin does not talk to others, he will lose his life. Ruth's admirable performance is worth watching. If you're a Ruth White fan, you will certainly appreciate this drama. Bil Baird is the puppeteer behind the dolphin and Elizabeth Wilson plays a very cold well-meaning night manager. All of the characters appear to be as lonely as the dolphin in the cage.

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By Paul Zindel. Set in a research laboratory that embodies the mechanical, detached attitudes of the 20th century science, this play tells the poignant story of a friendless, simple scrubwoman (Ruth White) and a dolphin who stubbornly refuses to talk to anyone but her. Despite the earnest attempts of her supervisor to indocrinate her, she cannot understand the cold, intellectual atmosphere. Secretly, she and the dolphin become friends and together strike a blow for love and understanding that baffles the experts. For this production, famed puppeteer Bil Baird created a life-size dolphin puppet that he both manipulates and acts as its voice. The Modern Jazz Quartet improvised and performed the original score.

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1/04/2012

In Fashion (Broadway Theatre Archive) (1974) Review

In Fashion (Broadway Theatre Archive)  (1974)
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A charming period piece on many levels- a look at the 1890's from the perspective of the 1970's. Pleasant songs, none of which go on too long (except one- on purpose) and a very capable cast. The romantic lead is Daniel Davis, who might surprise those who know him as Niles the butler in THE NANNY, or Professor Moriarity on STAR TREK. Likewise Charlotte Rae (from THE FACTS OF LIFE) reveals a remarkably good singing voice behind her comic facade. The quality of the image is quite good, with the usual dificulties of shooting a live performance. There is one tape glitch about midway through, but I'm thankful that this minor gem survived.

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By John Jory. This rollicking musical is based on George Feydeau's turn-of-20th-century farce "Tailleur Pour Dames." Set in Paris shortly after 1900, the plot revoloves around Feydeau's favorite theme of marital infidelity. Full of chance meetings, mistaken identities, little deceits and big lies, In Fashion is a delightful French souffle with bouncy music, witty lyrics, and plenty of laughs. Starring Max Wright(All That Jazz), Daniel Davis (The Nanny, Hunt For Red October), and Emmy and Tony-nominee Charlotte Rae (Bananas), this show was taped before a live audience in New York City.

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Awake and Sing (Broadway Theatre Archive) (1972) Review

Awake and Sing (Broadway Theatre Archive)  (1972)
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I can't commend this highly enough. I saw it on the local Public Television station here in Chicago when it was first broadcast in the early 1970s, and it made a tremendous impact on me. This play, and the very similar "Paradise Lost," are depression era dramas written by Clifford Odets and originally produced for the stage in the mid 1930s, when they were the cutting edge of contemporary theatre and dealt with contemporary issues. These new DVDs contain television productions done with top-notch casts in the early 1970s. I found them unforgettable, and am delighted to be able to savor them again after 30-plus years. They're just as good as I remember.
They tell their stories from a rather specific perspective, i.e., that of educated middle-class Jewish families living in New York, and falling on hard times during the depression. These people have pretensions of gentility and high culture, but quickly-encroaching poverty is grinding at that façade and leaving them without much more than primal survival instincts. The main themes they deal with, as I read it, are familial love (and how it sometimes mutates into betrayal or hate under pressure of poverty), what we owe to our fellow humans and vise versa, grace or the lack of it under extreme pressure, and the wisdom or folly of optimism for the future. I expect there are themes, subtleties, and symbolisms that I overlook, but they're extremely rich brews of ideas that can keep you pondering long after having seen them. What they are most emphatically NOT is light entertainment. Dark and somewhat depressing, they explore how severe economic pressures degrade the quality of life, and poison relationships with our families, friends, co-workers, neighbors, community and government. In this, they are not the least bit dated, and show that while individual issues may vary with time, human nature doesn't.
If I had to recommend only one of the two of Odets' plays on DVD, I would probably go for "Paradise Lost," which I think deals with a wider array of issues and characters. Personally I find them both indispensable, and Walter Matthau's sardonic performance as Moe Axelrod in "Awake and Sing" is really excellent. It's a perfect role for him.
The only reason I wouldn't give it 5 stars is that the dated video source presents a slightly fuzzy picture with inconsistent color quality, and the sound quality is mediocre at best. This, to me, is of little importance when dealing with such excellent content. The fact that there are no other comments here thus far suggests that people are passing these up. It's really great stuff. Don't miss it. Buy it, to encourage more of the same on DVD.

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Walter Matthau heads the cast of this television recreation of Clifford Odets' 1935 hit Broadway play, the first full-length work performed on the commercial stage by the legendary Group Theatre. This portrait of a Jewish family in a Bronx tenement perfectly captures the spirit of the Depression years, and is suffused with details of character and place that combine to be affecting even now. The Bergers, burdened by financial difficulties, have taken in a boarder, Moe Axelrod (Matthau), who lost a leg in World War I. Cynical and outspoken, Moe adds a spark to the somewhat accepting lives of the Bergers. The family fights to survive on $16 a week while the intellectual, Marxist-leaning grandfather (brilliantly played by famed Yiddish theatre star, Leo Fuchs) tries futilely to spur his family to action with the injunction, "Awake and sing, ye that dwell in the dust ." (Isaiah 26:19). With Ruth Storey, Robert Lipton, and Felicia Farr.

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Verna - USO Girl (Broadway Theatre Archive) (1978) Review

Verna - USO Girl (Broadway Theatre Archive)  (1978)
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Sissy Spacek stars as a second rate wartime USO Girl entertainer trying to make the bigtime.It's a beautifully acted feel good movie!!

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Academy Award winner Sissy Spacek is Verna USO Girl, a kindhearted - but not particularly talented-member of a performing troupe in World War II Belgium. She wins the heart of an American soldier memorably played by William Hurt. "Verna:USO Girl" takes an entertaining look at the camaraderie between USO entertainers and combat troops. Adapted by Albert Innaurato from Paul Gallico's short story.

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1/03/2012

Eugene O'Neill's Mourning Becomes Electra (Broadway Theatre Archive) (1978) Review

Eugene O'Neill's Mourning Becomes Electra (Broadway Theatre Archive) (1978)
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O'Neill doesn't get much representation these days. Staging his plays isn't always practical. This is a really excellent video version of the play that was produced for Connecticut public television. The cast, including Joan Hackett, Roberta Maxwell, Bruce Davison and Jeffrey DeMunn is really excellent. They breathe such natural life into these supertragic, archetypal, and arguably over-Freudian, characters that you really understand why this is a magnificent tragedy and not just some soap opera. The settings are good and the staging takes advantage of the medium with scene transitions that wouldn't have been possible on stage, but would no doubt have gladdened O'Neill's heart, and give further power to his already lavish dramatic design.
Unfortunately, this IS produced for public television, and there is no attempt to hide the fact. The play is presented in a series of "Episodes," with "scenes from last time" and an opening of waves on cliffs that can not fail to remind viewers of the series "Dark Shadows." But the score by Maurice Jarre is perfect and evocative throughout the production. There is
also a clinching review/discussion/commentary at the end of each episode by, for some reason, Erich Segal. I avoided this like the plague.

Click Here to see more reviews about: Eugene O'Neill's Mourning Becomes Electra (Broadway Theatre Archive) (1978)

This expressionistic work is Eugene O'Neill's classic American drama of love, revenge, murder and suicide. Set against the backdrop of a small New England town in the post-Civil War era, O'Neill's saga of family discord fueled by psychological undercurrents is from Aeschylus' "The Oresteia." The end result is one of the American theatre's most shattering epic works.

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The Typists (Broadway Theatre Archive) Review

The Typists (Broadway Theatre Archive)
Average Reviews:

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Saw this show years ago on TV when it was first shown. Enjoyed it then for its excellent performance by great actors. The story interesting as the characters age before your eyes throughout the show. Great actors, interesting script and a real jewel of a performance.

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