February 13, 1998 |
"Our Town' was Thornton Wilder's first full-length play. Unusual for its time, even considered experimental, the original production had a tryout performance on Jan. 22, 1938, at the McCarter Theatre in Princeton, N.J. The next morning, the company left for a two-week run in Boston, where the critics hated it. One wrote: "When we arrived the curtain was up and there was no scenery on the stage. We wondered if there was going to be a play. After watching for two hours, we still wonder."
November 30, 1995 |
Jeffrey Lynn, the durable actor whose film career as the handsome romantic husband or boyfriend flourished in the late 1930s and 1940s, has died. He was 86. Lynn died Friday at St. Joseph's Hospital in Burbank after a stroke, said his daughter, Letitia Lynn. Born Ragnar Godfrey Lind in Auburn, Mass., Lynn legally changed his name to his stage name in 1942, noting that he wanted to serve his country during World War II under the name that had become popular.
September 19, 2004
David GRITTEN suggests in his piece on Oliver Stone's "Alexander" ["Fearsome Phalanx," Sept. 12] that the director's decision to feature English-accented actors playing Greeks in contrast to using performers with an Irish brogue to play Macedonians is either "eccentric" or "inspired." While it may be the former according to one's taste in such things, the director's choice is most definitely inspired by an earlier film. Director William Wyler cast British actors (Jack Hawkins, Stephen Boyd and others)
April 3, 1993 |
Novel Tour: After writing 39 plays, Jerome Lawrence, who co-wrote "Auntie Mame" and "Inherit the Wind" with Robert E. Lee, has made a career detour from playwriting to fiction with his first novel, "A Golden Circle," based on the late acting teacher Stella Adler and the 1930s Algonquin Round Table literary circle. Lawrence's two-month book-signing tour begins with a dramatic presentation by actress Holland Taylor at Brentano's, 10250 Santa Monica Blvd., Century City, on Monday at 7:30 p.m.
July 2, 1999 |
Everyone gets a chance to chomp the scenery in "Who's Afraid of Edward Albee?" Michael Kearns' original drama at Glaxa professes to examine the gay subtexts in "Who's Afraid of Virginia Woolf?" However, somewhere along its careening route, the play veers, intentionally or not, into parody. Whatever Kearns' dramatic intent, this sprawling exercise in excess is consistently fascinating, as watchable as a train wreck and as feverishly histrionic as a Joan Crawford film festival.