June 2, 2000 |
If Sunday's annual Tony Awards came with a stretchy-toy mascot--and really, what awards show couldn't use one?--that mascot would be good old Gumby. For those who haven't seen it lately, Gumby's head resembles the state of New York, proud home to New York City and, in turn, the industry and somewhat distressed state of mind known as Broadway. Faced with musicals that some consider less than "real," the Tony administration has added a catch-all category for hard-to-categorize productions.
May 28, 1995 |
Next Sunday is the annual Tony Awards telecast, traditionally a time for critics to dish the New York theater season that was. So, here we go. This was the year in which the Tony nominating committee simply handed out two awards to "Sunset Boulevard"--the only new musical of the season with a book (Don Black and Christopher Hampton) and an original score (Sir Andrew Lloyd Webber).
February 1, 2014 |
NEW YORK - A few years ago, playwright Christopher Durang began wondering "what if" a bunch of Anton Chekhov's characters lived in Bucks County, Penn., as he did. And what if two of the older ones lived in a nice stone farmhouse like his for not just in midlife, as he does, but for their entire lives? "Even when I studied Chekhov's plays in college, I felt empathy for his older characters, often regretful and unhappy," says Durang. "Now that I'm older, I wanted to do something triggered by Chekhov but put in the present day. My farm house, which is on a little hill, made me think of a lot of the sets I've seen in 'The Seagull.'" The result of such musing is "Vanya and Sonia and Masha and Spike.
June 8, 1999 |
Like all probing artistic explorations of the human condition, Sunday's Tony Awards telecast dared to provoke the unanswerable questions. What's up with that number from "The Civil War," for instance? Thirty seconds into "Freedom's Child," a poorly filmed mess featuring the music of Frank Wildhorn and two guys running across the stage with flags, you could hear the scramble for remotes all across this mighty nation.
May 11, 2010 |
Toward the end of her very full life, Lena Horne suggested to a PBS interviewer that, after decades of struggling to define her image as an artist and a black woman, she finally had seized possession of her identity. "I don't have to be a symbol to anybody," said Horne, who died Sunday night in a New York hospital at the age of 92. "I no longer have to be a 'credit.' " Americans born before 1960 will recognize Horne's fragmented reference to a phrase that, mercifully, has now been confined to history's ash heap: "a credit to her (or his)