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On a day I'm feeling a little blue, I'd love to be able to pop Annie Hall into the DVD player and have Woody Allen and Diane Keaton step out of the screen and into my living room, acting out the story right before my eyes. And wouldn't it be even better if I invited a couple thousand people to watch it with me so I could provide a running commentary? read more »
[Welcome to Bamboo Nation's first-ever live-blogging event! read more »
After my recent posts about impending revivals of Guys and Dolls and Brigadoon, I got a question from a reader (Hey, Justin) about which musicals have seen the most Broadway revivals. Intrigued, I did some research on IBDB, which is...ccaggiano
Okay, I know I'm way too excited about this, but I got a brochure yesterday from the Providence Performing Arts Center, where the Broadway tours stop. read more »
Stephen Sondheim's brilliant musical thriller has a score like an endlessly recurring nightmare that murders sleep. Its insistent, jittery repetitions take up residence in your head as Sweeney's terrible revenge against the world gathers pace, and just when you think your brain is on fire, it cuts the pain with the astonishing beauty of love songs such as Joanna and Pretty Women. It is a sophisticated and canny piece of dramatic writing and, as Declan Donnellan and John Doyle have both proved, works best in a chamber setting. read more »
One hundred years ago Annie Horniman opened Manchester's refurbished Gaiety Theatre, igniting the British repertory movement. To mark this event, the Library Theatre is reviving this little-known 1909 play by Stanley Houghton, part of the "Manchester School" assiduously championed by Horniman. While it may not be as fine as Houghton's later Hindle Wakes, it fittingly reminds us that female empowerment was a dominant theme of Edwardian drama. read more »