Profile for slimandslam

"It takes a very special kind of person to be a true theatre professional, and being able to perform at the same level over weeks and months is just one of those things that comes with the territory." Amen to that. I'm not a true theatre professional, so what keeps me from being bored is... being bored. You get bored, you lose concentration, you make a mistake because of it, you feel embarrassed, you concentrate *much* better during the next performance, and that improved concentration makes ...

Some thoughts: George Plimpton Sonny Liston Andy Warhol Orval Faubus And, no matter what you think about her personality or her politics, a musical that covered the life of Sarah Palin from August to November 2008 could be terrific. Such a crazy story...

I find it interesting that the first posting of the NYTimes obit had "dance critic" in its headline (it now just says "critic"). The obit stressed his contributions to dance criticism, and made his theater-criticism work seem more like an afterthought. (...which is just to say that I'm paraphrasing William Goldman, 40 years later.)

I was thinking Jack Nicholson.

As one who has purchased many, many tickets from TKTS and otherwise benefitted from TDF's mission, I will spend a little time today remembering Mr. Booth, who was instrumental in defining and implementing that mission. Thank you and rest in peace.

I saw FB once at the very beginning, in the early '80s, and laughed my fool head off. More recently, I thought of it like I think of the Statue of Liberty: I'm glad it's there, but I never go to see it. Except now it won't be there. I'm a little sad, but it just means that parody Broadway lyrics will once more become truly insider references, calling cards of a secret club, rather than trying to find an audience of their own.

Of course, it isn't a category, but if it were, what do you think would be the nominees this year? (I'm looking for predictions, not preferences, but feel free to give both.)

No.

< vocabulary cop > The subject of this thread should be changed. To "enjoin" something is to forbid it or prevent it. The phrase you probably want is "the battle is joined." It takes two (or more) to have a battle, so once a second person (or nation, or army, or whatever) joins the battle, then the battle starts. < / vocabulary cop >

March of the Falsettos Falsettoland (Individually, both of these are weirder titles than the "Falsettos" amalgamation of the two.)

I'm glad to see these. Sondheim's reputation among cryptic-crossword aficionados is legion. If you like this sort of thing, then you should subscribe to Harper's, and get a crossword much like this every month, created by Richard Maltby, Jr. (There's also the online puzzle in The Atlantic, but it's from Emily Cox and Henry Rathvon, so it lacks that Broadway connection.)

Bumped to highlight the final result: The people have spoken. As the winner of BWW March Madness 2008, I can confidently say that BWW habitués’ favorite Broadway musical of the nineties is… Ragtime! It was fairly convincing. In their six-matchup march to the championship, Ragtime not only won each game, but won each game with at least 64% of the vote. The score in the final-game win over Miss Saigon was 86-32. I’d like to thank all of you who participated. I’m especially thankful to those of ...

The first three that came to mind were: The House of Sleeping Beauties (David Henry Hwang) The Lover (Harold Pinter) The Loveliest Afternoon of the Year (John Guare) Israel Horovitz has several short two-character plays in his collection 16 Short Plays (published by Smith & Kraus as part of their "Plays for Actors" series). The PlayFinder over at Dramatists Play Service gives 155 possibilities for your query (1 man, 1 woman, short play). Try it at www.dramatists.com.

What I find interesting is that neither of our two finalists for Best Musical of the '90's actually won the Best Musical Tony Award. For that matter, none of the Final Four were Best Musical winners (the other two being Falsettos and Side Show). Only two of the Elite Eight were Tony winners for Best Musical (Kiss of the Spider Woman and Passion). Heck, one of the Best Musical winners went down in the first round (Fosse).

Does the New York Times now print on pink paper?

The New York Times obituary for Heston includes this paragraph: When they returned to New York in 1947, Mr. Heston got his first big break, landing the role of Caesar’s lieutenant in a Broadway production of Shakespeare’s “Antony and Cleopatra” staged by Guthrie McClintick and starring Katharine Cornell. The production ran for seven months and proved to be the high point of Mr. Heston’s New York stage career. He appeared in a handful of other plays, most of them dismal failures, although his ...

To save everyone the trouble of checking IBDB, here are Charlton Heston's Broadway credits: 1947-48: Played Proculeius in a production of Shakespeare's Antony and Cleopatra at the Martin Beck. Katharine Cornell played Cleopatra, and Godfrey Tearle played Antony. Eli Wallach was also in that production, as Diomedes. Ran for 126 performances. 1949: Appeared in an original play called Leaf and Bough by Joseph Hayes, which ran for three performances at the Cort. I know nothing about this play, an...

The acting edition is available from Samuel French London. (http://www.samuelfrench-london.co.uk/) (ISBN: 0-573-01547-2)

Well, your original question does imply another question ("Is it possible for John Tartaglia to have some sort of contract with Disney and still be allowed to do work in a Dreamworks project?"), and that's the question others (including Foster) tried to answer. In this instance, I do think that's a relevant take on your post. We did all duck your original question, though. Maybe we should become press spokesmen for politicians. We've got the skillz.