By Steven Suskin
Broadway Yearbook 2000-2001 is a proper and irreverent checklist of the theatrical yr. A vibrant album of the yr at the nice White manner, Broadway Yearbook offers readers front-row seats for the phenomenon of The manufacturers and the remainder of the season's hits and misses. Steven Suskin's acclaimed new theatre annual gives you a colourful, candid, and considerate account of each convey to hit the forums: fascinating musicals resembling the whole Monty and the revival of forty second highway; exciting new performs like facts and the story of the Allergist's spouse; and interesting mess ups, together with Jane Eyre and the beleaguered Seussical. Broadway Yearbook tells us what the indicates have been really like. it truly is an interpretive list, that includes not just dates and names but additionally the tales in the back of the facts. every one access is observed via credit and solid lists, scorecards summarizing total severe reception for every express, a precis of every show's monetary functionality, and copies of the illustrative application covers and identify pages. Appendices supply a roundup of the season's significant awards, memorable performances of the yr, obituaries, future leaders, indicates nonetheless working from earlier seasons, scheduled indicates that by no means reached Broadway, and a entire index. Steven Suskin has supplied a distinct and special list of the season's memorable moments and excessive issues (and low issues as well). Written from an insider's standpoint, the ebook is an expert, fascinating, provocative, and exciting. Broadway Yearbook brings the indicates of the 2000-2001 season again for an encore.
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Extra resources for Broadway Yearbook 2000-2001: A Relevant and Irreverent Record (Broadway Yearbook)
I plunged everything into you, like an animal” he confessed. ” and you didn’t know whether you should laugh or sputter or just shake the cobwebs out of your ears. The eccentric comedienne Veanne Cox came off best. She looked — and acted — like a Charles Addams drawing of a Munch character, comporting herself in one memorable (if out-of-place) moment like James Thurber’s drawing of Ophelia leaping through her mad scene. Veterans Len Cariou (André) and Penny Fuller (Gabrielle)— who had together supported Lauren Bacall in the 1970 musical hit Applause —gave commanding performances despite the unattractive material in their hands.
Catherine attacks the logic of his position. ) Robert says that she can’t be crazy because a crazy person would never admit she was crazy, yet he himself is crazy and admits it; ergo, she wants to know how his theory (reassuring her that she is not crazy) can be true. ” And of course, he is; it has been apparent in just about everything he’s said since curtain up, only we haven’t caught on. Everything Auburn had laid out so far—which the audience bought, and absorbed — suddenly had a different meaning; Catherine had been talking to herself all along.
Interspersed between the latter two was an ineffective female rewrite of The Odd Cou ple. Thus, from 1973 through 1986, Simon wrote six hits and six failures. Impressive enough for just about anyone, but not approaching his earlier pace. The success of the trilogy seems to have wearied the indefatigable playwright Simon (who turned sixty in 1987). The inconsequential farce Rumors and the fractured psychodrama Jake’s Women were followed by one of his strongest plays, Lost in Yonkers. But things went severely downhill with the stellar, can’t-miss musical The Goodbye Girl, which A playwright with one major hit is proved to be a turmoil-racked ﬁ- brilliant; a playwright with two major asco.