Eugene Onegin (2009) Review

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(More customer reviews)This perfomance of Onegin is one of the most musical I have seen over the past 30 years. I do remember great performances at the Metropolitan opera with Zylis-Gara and Gedda and a great performance by the Bolshoi when they first came to the Met about 30 years ago. The beauty of this performance however is the total perfection of ensemble staging, singing, acting and conducting all within beautiful sets. The individual singers have excellent techniques, unforced beautiful voices and a true feeling for the nuances of the opera which is conducted to perfection by an unlisted conductor who projects his great love and appreciation of the score. The performers are ideally cast and are embodiments of their roles. However, it is the high quality of the singing and interpretations of every singer that make this such a satisfactory performance. Of course honors go to the beautiful Tatanya whose transformation from the innocent young girl of the letter scene to the mature torn woman of the final scene is reflected in her voice and acting. The same can be said for the Onegin whose arrogance at the beginning to the defeated and tragic figure of the final scene moves the opera to its inevitable conclusion. The Lensky sings and acts the role of the young poet with an inner passion that illuminates the unfolding tragedy;the famous aria is movingly delivered. One is struck by the high quality of artistry of the other members of cast--There is not a wobbly or strained voice. The sets are traditional and beautiful reflecting the lyricism of the text and opera. Unfortunately the modern settings and stagings of Onegin at the Metropolitan and Kirov are not of the same caliber as this performance--in fact they are to be avoided. The only complaint that I have is that this is a 1984 taped live performance, and the technology is not up to 2006 standards--However, the innate beauty of every aspect of this production overides any technical limitations. Onegin is captured as the composer may have envisioned it in his mind as he wrote this glorious music. A gold standard has been set by this performance.

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This Soviet production filmed live at the Kirov conveys the full beauty of Tchaikovsky's vision. It is a poetically tender work which was confirmed by Tchaikovsky himself in 1878 when he said "I played the whole of Eugene Onegin, the author was the sole listener, the listener was moved to tears." Eugene Onegin is Tchaikovsky's most lyrical operatic work. While composing it, he wrote he was filled with "indescribable pleasure and enthusiasm." The opera is based on Pushkin's novel in verse and was first produced in Moscow on March 29, 1879. Featuring Sergei Leyferkus as Onegin, Yuri Marusin, Tatiana Novikova, Larissa Dyadkova

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

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(More customer reviews)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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Monkey Monkey Bottle of Beer, How Many Monkeys Have We Here? (Broadway Theatre Archive) (1974) Review

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(More customer reviews)The title for this play originates from a counting nursery rhyme that indicates who is "it" or "out", so, it may seem apropropriate for the theme of the play. Five women arrive separately to the basement of a hospital to learn the results of an experiment conducted on their mentally challenged 8-year olds. Little is known to the women regarding the experiment, except that it is "needle to the brain with no pain." So, no one knows how the experiment turned out, which of their sons could be improved or worse. Therefore, the title of counting rhyme may indicate one or another's son may have a different outcome.
The setting is the basement of a hospital, and we listen as the five woman sit in a circle, taking her place, and waiting to be called for the doctor. As they wait in closeness, the women's personalities are soon revealed, why they are in the program, their personal issues, attitudes, doubts, finances, fears, etc. There is some dramatic confrontation. So, the gist of the play is mostly that, sitting, chatting, confronting, while waiting.
The character roles are well-defined in the short time we learn about them, and, the acting is well-done. Toward the end, one woman meets with her 8-year old, and realizes he is changed. However, the kid, about 8 years old is not a good actor and unfortunately he had more than enough lines. His acting was so forced and on the brink of noticeable and irritating. It was highly distracting to the work.
Other than that, the play was nothing too memorable. Playwright Marsha Steiness, who has written about 5 plays, is new to me. ........Rizzo.


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The title for this play is taken from a little known nursery rhyme, which involves a game between mother and child. The drama opens in the elegant reception room of a clinic where five women await a first reunion with their children from who they have been separated for two months. As the scene proceeds, their discomfort escalates; the tension, now palpable, suggest there are more complicated issues at play. It seems the children have been participants in an unusual experiment - never fully revealed. The women continue to wait...collective pawns in a situation over which they have no control. Their personal reactions to the stress reveal much about their characters. By Marsha Sheiness.

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Anton Chekhov's The Seagull (Broadway Theatre Archive) (1975) Review

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(More customer reviews)The actress Blythe Danner is Gwyneth Paltrow's mother, and some of us think she could have been just as big a star. Here is one of her very best performances in this PBS version from the 1970's of Anton Chekhov's classic play, "The Seagull." She plays Nina, a country girl who falls in love with the dissolute novelist Trigorin (Kevin McCarthy). She is the very incarnation of innocence and happiness in the first three acts. She uses that throaty voice, enormous eyes and piercing sweetness to make us care deeply about the character. Then in act four she transforms herself into Trigorin's destroyed victim and the result is heartwrenching. A great performance by a sadly neglected great actress. This video is part of the "Broadway Theatre Archive", a collection of plays taped for PBS as part of their "Theatre in America" series. Every drams buff should seek them out.

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This quintessential Chekhov drama--his first success--is both comic and tragic. A group of friends and relations gather at a country estate to see the first performance of an experimental play written and staged by the young man of the house, Konstantin (Frank Langella), an aspiring writer who dreams of bringing new forms to the theatre. Among the audience are Konstantin's self-centered mother, the actress Arkadina, and her lover, the novelist Trigorin. Their glamorous presence not only disrupts the performance, but also soon takes on a more profound significance for the lives of all those present.

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Out of Our Fathers' House (Broadway Theatre Archive) (1978) Review

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(More customer reviews)This 70s production was enlightening, and it took me a couple of views to grasp the characters identities. The play, done in a nonconventional format, is about six women with remarkable and notable lives during our history. The six women come together to share their thoughts, dreams, struggles, bravery, movements, privileges, hardships, etc.
The storyline is based on a book by Eve Merriam, Growing Up Female in America (Beacon paperback). Although the book has 10 women, only 6 are present for the play. The title, From Our Father's House, theme derives from the clutches of their father, imposed or instilled. Better yet, the play is not hand-written; the text generates from the works of their journals, letters, diaries, etc. The six women who come together, take turns sharing and listening to one another are...
Dr. Anna Howard Stern (1847-1919), the first ordained women's preacher, doctor and leader of the sufferage movement. Listen, as she determined she overcame her father's message that reading was a waste of time, and she would make nothing of her life. She chose the pulpit over her own family.
Maria Mitchell (1818-1889), the first professional astronomer, whose father was an astronomer. She learned all about astronomy, but at that time, experienced that it was not as valued by the public for a woman with that knowledge.
Elizabeth Southgate (1783-1909), a young girl of privilege, went to finishing school, adored and respected her parents. She writes about finding the right man, marrying, becoming sick, (presumably TB). She died in her mid 20s. There is an interesting collection of her letters available in book form. A Girl's Life Eighty Years Ago: Selections From The Letters Of Eliza Southgate Bowne (1887).
Elizabeth Gertrude Stein (1890-1950), writer, journalist, feminist, shares when husband became sick, she worked in a department story, had a promotion, then went back home. Later, she became a profitable writing earning much.
Elizabeth Cady Stanton (1815-1902), founder of the Women's Suffrage movement. She tells of her age at 12, when her brother in college died, and how he was the pride of her father's heart. She tried to match up to being a male, learning Greek, Latin, etc. Struggling to do it, her father said, "you should have been a boy!"
"Mother" Mary Jones (1830-1930), prominent labor organizer and powerful voice of the underprivileged. Wonderful story telling about her child labor movement. The most mature actress portraying Mary Jones has done a superb job.
Enjoyable, informative, educational, hear the voices of the past, similar to the present.....Rizzo


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This play presents the true stories of women who sought independence at any cost. The compelling text is taken entirely from the diaries, journals and letters of the characters portrayed, among them: Elizabeth Cady Stanton, the powerful founder of the women's suffrage movement; the famous labor organizer "Mother" Mary Jones; and Dr. Anna Howard Shaw, a frontier minister who protected herself by carrying a fully-loaded pistol at all times. Stars two-time Oscar famous labor organizer "Mother" Mary Jones; and Dr. Anna Howard Shaw, a frontier minister who protected herself by carrying a fully-loaded pistol at all times. Stars two-time Oscar® - winner Dianne Wiest (Hannah and Her Sisters) and two-time Emmy® - winner Carol Kane (Taxi).

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

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(More customer reviews)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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The Good Doctor (Broadway Theatre Archive) (1978) Review

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(More customer reviews)The cream of the Broadway Theatre Archive, this production has it all--the stories of Anton Chekhov, Neil Simon to mold the stories into exquisitely timed and hilarious theatre, and a cast that is hard to duplicate. Starring Marsha Mason, who plays everything from a maid to a lady of the night; Ed Asner who is a terrific, blustering general; and Lee Grant, who ranges from a wily and assertive employer to a wild woman with a "nervous disorder," the production also includes Bob Dishy, who has an elastic face and expressive eyes, starring in "The Sneeze" and "The Seduction," and Gary Dontzig as the "Drowned Man" and a 19-year-old son about to be introduced to sex for the first time.
The seven Chekhov stories which become one-act plays here are filled with dry humor, surprise endings, and clever common people in confrontations with "superiors" which end in absurdity. "The Sneezer" cannot apologize enough to the general who is his boss at work, then believes that he himself has been humiliated. In "The Governess," an employer (Grant) tricks a subservient governess (Mason) out of 80% of her pay. "The Seduction" shows a man-about-town (Chamberlain) using a husband as the conduit for his seduction of the man's wife, a story with a twist at the end. "The Drowned Man" (Dontzig) claims to be in the "maritime entertainment business" and will "drown" for a small fee. "The Defenseless Creature" gives Grant her star turn, and she is hilarious as the clever wife who wants money from a banker (Chamberlain), threatening him with a curse if he refuses. In "The Arrangement" a father takes his shy, 19-year-old son to a house of ill repute, then realizes that the son will no longer be a boy.
The most stunning episode is "The Audition," and anyone interested in acting would do well to study Marsha Mason, who is magnificent here. Playing the parts of all three sisters from the conclusion of Chekhov's The Three Sisters, she is sensitive, bursts into tears on cue, then becomes rational and straightforward. As Mason convincingly plays the three different roles, one witnesses a truly great acting moment. Each of the scenes is beautifully produced and sensitively acted, and the viewer comes away from the production awed by Chekhov's writing, Simon's dramatic sense, and the ensemble cast's incredible talent. Mary Whipple


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Anton Chekhov's early short stories, which so eloquently capture the comic and serious sides of the 19th century Russian Bourgeoisie, were the source and inspiration for this hit by Neil Simon--one of the most prolific and beloved playwrights of all time. Simon's tribute to Chekhov resonates with great feeling and warm humor. Richard Chamberlain as The Writer, who ties everything together, glides through the production in a variety of guises, opening with "The Sneeze" and progressing to "The Governess." He is joined by an all-star team of farceurs including Ed Asner, Bob Dishy, Lee Grant, and Marsha Mason. "Studded with the kind of names that make hearts palpitate... an elaborate conceit by Neil Simon." --The New York Times

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War & Peace (1972) (1973) Review

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(More customer reviews)I'm quite in agreement with the reviewer who wrote that this is the best version of Tolstoy's classic--which I have, in fact, read. This is distinct from the "Fonda/Hepburn" version for that very reason: the mid-'50's version is known as the "Fonda/Hepburn" version. There were no Stars in this BBC production, just excellent actors. Mind you, anyone who watched a lot of Masterpiece theatre was able to follow Angela Down [Princess Marya Nokolaievna Bolkonskaya] into a subsequent series, "The Glittering Prizes;" or Frank Middlemass who portrayed General Kutuzov into "Poldark" as Uncle Charles. It was only later that Anthony Hopkins went Hollywood, and became recognized; although his portrayal of gay butcher Richard the Lion Hearted in "The Lion in Winter" was superb in '68.
This is the best, most faithful to the book, version of War and Peace available.

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Leo Tolstoy’s timeless masterpiece of love and loss is universally recognized as one of the greatest novels ever written. Focusing on the consequences faces by three Russian families during the Napoleonic Wars, this classic work is retold in twenty parts in this epic BBC production, complete with award-winning design and breathtaking battle sequences. Anthony Hopkins heads the cast as the soul-searching Pierre Bezuhov (a role for which he won the 1972 Best Actor BAFTA); Morag Hood is the impulsive and beautiful Natasha Rostova; Alan Dobie is the dour but heroic Andrei Bolkonsky; and David Swift is Napoleon, whose decision to invade Russia in 1812 has far-reaching consequences for both the Rostov and Bolkonsky families. Includes a 44-page booklet featuring production notes, episode summaries, character profiles and stunning behind the scenes photography.

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