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  • Article

    THE RULES ACCORDING TO HOYLE

    Arizona Theatre Company has joined Actors Theatre of Phoenix by ending the season not with a bang, but saving a buck. Both theatres concluded the year with one-man shows. Last month, ATP gave us An Evening With Groucho, and now we have an opportunity...

    by Marshall W. Mason on June 8, 1995
  • Article

    BROADWAY PLAYS DEAD'95 TONY AWARDS EULOGIZE WORST SEASON IN NEW YORK THEATRE HISTORY

    "Can Broadway be saved?" was the question on the cover of New York magazine last week. Inside, Michael Goldstein prescribed a 12-step program to restore the flagship of the American theatre to its former glory. First, he says, Broadway must admit it'...

    by Marshall W. Mason on June 8, 1995
  • Article

    RAVERS' EDGE

    It's 4 a.m. Sirens blare, drums are launching off into some crazed atavistic groove and a surging curl of writhing, painted modern primitives snakes toward the stage. A butt-naked bald girl is pelting the audience with chunks of fruit and vegetables....

    by Bettie Rinehart on June 1, 1995
  • Article

    TOMORROWLAND LORD

    You don't build the City of Tomorrow in a day. In fact, not even in 25 years, as it turns out, but Paolo Soleri's vision of Arcosanti has not wavered since he first broke ground for his "urban laboratory" at the basalt cliffs near Cordes Junction in ...

    by Bettie Rinehart on May 18, 1995
  • Article

    POWER PLAY

    Last weekend, in the chilly confines of Mesa Amphitheatre, an actor entreated us: "Gently to hear, kindly to judge our play." Not to worry. After suffering through a season of Shakespearean mediocrity, Phoenix audiences should welcome a robust...

    by Marshall W. Mason on May 11, 1995
  • Article

    HIGH MARX

    If you saw Laurence Olivier in The Entertainer, you may have some insight into the final offering of the season by Actors Theatre of Phoenix, now playing in Stage West at Herberger Theater Center. In that 1960 film, Olivier portrays Archie Rice, a ...

    by Marshall W. Mason on May 11, 1995
  • Article

    HELLO, DALLY

    Stephen Sondheim's most sublime achievements surpass anything in the musical theatre since Rodgers and Hammerstein. I would include among these Sweeney Todd, the Demon Barber of Fleet Street; Sunday in the Park With George; and his most recent, the c...

    by Marshall W. Mason on May 4, 1995
  • Article

    AMAZING RACE

    Long before Spike Lee and John Singleton made their first films, African-American cinema had had a 50-year history as an alternative genre that few people, even film buffs, knew about. Made independently by African-American directors for African-Amer...

    by Bettie Rinehart on May 4, 1995
  • Article

    HIGH BLOOD COUNT

    There's not a bat in sight in the world premire of Arizona Theatre Company's compelling new version of Dracula, currently stalking Herberger Theater Center. But bats are about the only thing missing from Steven Dietz's faithful rendition of Bram Sto...

    by Marshall W. Mason on April 27, 1995
  • Article

    TOYING WITH OUR EMOTIONS

    If Marcel Duchamp, Pieter Brueghel and Franz Kafka had somehow been commissioned to build a playroom for disenchanted philosophers, it may have looked a lot like deCompression Satellite Gallery does right now. The Arizona Center gallery is presenting...

    by Bettie Rinehart on April 20, 1995
  • Article

    ANATOMY OF A MURDERESS

    The sensational story of Medea has fascinated audiences throughout time. Corneille wrote a version in 1635, and Cherubini turned it into an opera in 1797. Broadway has produced this play more often (and more successfully) than any other classic....

    by Marshall W. Mason on April 20, 1995
  • Article

    DEATH AND THE MAUDLIN

    In 1977, a very lean year for drama, The Shadow Box won the Pulitzer Prize and the Tony Award, but lost the New York Drama Critics' Circle Award to David Mamet's American Buffalo. "Disease plays" were fashionable then, but about this one, cri...

    by Marshall W. Mason on April 13, 1995
  • Article

    CORPSE AND ROBBERS

    The best play of 1966 has arrived in Phoenix, and even 29 years later, it is still the most outrageous comedy of the season. It's also one of the funniest. The play is Joe Orton's Loot, in a production by Tres Repertory Theatre in P...

    by Marshall W. Mason on April 13, 1995
  • Article

    INEPTITUDE TEST

    Unfairly, the word "amateur" is usually a pejorative term. The literal definition is "one who practices any art, study or sport for pleasure and not for money." Unfortunately, "amateur" also can imply a lack of skill or finish, and suc...

    by Marshall W. Mason on April 6, 1995
  • Article

    THE FEY CABALLERO

    Marlon Brando's star turn in 1990's The Freshman was possibly the greatest piece of self-parody in the history of film acting. Sending up his Godfather persona, the actor transcended it--he gave soul, warmth, humor and true innocence to the bleak old...

    by M.V. Moorhead on April 6, 1995
  • Article

    ART DETOUR SNEAKS INTO TOWN

    Art Detour, the yearly open house of downtown Phoenix art studios and galleries, came and went this year without much fanfare. No trolleys to shuttle folks along the circuit of art spaces, no "mystery" galleries (empty downtown storefronts turned int...

    by Bettie Rinehart on April 6, 1995
  • Article

    SKITS AND PIECES

    If Forrest Gump's mother was right ("Life is like a box of . . ."), then Arizona Comedy Theatre Company's Coming Attractions is like a Whitman's Sampler with all the tops pushed in so we know what we're going to get. Four dedicated performers ...

    by Marshall W. Mason on April 6, 1995
  • Article

    MYTHING THE MARK

    Liam Neeson is a fine big slab of testosterone, a competent actor and a reasonably likable screen presence. He's not, however, a movie star. He may be paid like a movie star, he may be given starring roles, but the excitement, the sense of intimacy t...

    by M.V. Moorhead on April 6, 1995
  • Article

    BLOODY GOOD SHOW

    During the mid-'80s, I heard director Richard Donner interviewed on television. He was plugging his film Lethal Weapon and noting, with a touch of Reagan-era pride, that on this project, he had gone back to the old, discreet conventions of action mov...

    by M.V. Moorhead on March 30, 1995
  • Article

    BROMIDE SELTZE

    Cynics beware! Phoenix Theatre has booked a show as irrepressible as an untrained puppy. And like a puppy, this entertainment promises to knock you over and bathe your face with wet kisses, these of homespun wisdom. It will make you giggle with delig...

    by Marshall W. Mason on March 30, 1995
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