By Steven Suskin
Broadway Yearbook 2000-2001 is a suitable and irreverent list of the theatrical yr. A shiny album of the 12 months at the nice White means, Broadway Yearbook provides 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 can provide a colourful, candid, and considerate account of each express to hit the forums: fascinating musicals resembling the complete Monty and the revival of forty second highway; interesting new performs like evidence 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 exhibits have been really like. it's an interpretive checklist, that includes not just dates and names but in addition the tales in the back of the records. every one access is observed via credit and forged lists, scorecards summarizing total severe reception for every express, a precis of every show's monetary functionality, and copies of the illustrative software 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 accomplished index. Steven Suskin has supplied a distinct and distinctive list of the season's memorable moments and excessive issues (and low issues as well). Written from an insider's viewpoint, the ebook is a professional, fascinating, provocative, and wonderful. Broadway Yearbook brings the exhibits of the 2000-2001 season again for an encore.
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Additional info for Broadway Yearbook 2000-2001: A Relevant and Irreverent Record (Broadway Yearbook)
Simon turned to Chekhov for the gloomy Good Doc tor, followed by God’s Favorite (from that laugh-ﬁlled Book of Job)— his ﬁrst two outright ﬂops. He rebounded with the successful California Suite, Chapter Two, and the musical They’re Playing Our Song. Simon then sank into what might be his poorest plays, I Ought to Be in Pictures and The Curse of Kalenshikoff. These presumably would have closed out of town, but Simon — as producer — opted to bring them in. ) These were followed by a rewritten version of Little Me, which pretty much accentuated the negative and failed more resoundingly than the original production.
During this speech, Larry Bryggman lost control of his left hand; it simply went haywire.
Durning had a problem remembering his lines in the early part of the run, which was duly noted by several critics. He was recovering from abdominal surgery when rehearsals began and didn’t join the others until the ﬁnal week. ) Rounding out the stars, in the smallest of the six roles, was the most Gore Vidal’s The Best Man 33 accomplished of them all. Liz Ashley has been trodding the local boards since 1959; she starred opposite Robert Redford in 1963 in the Neil Simon and Mike Nichols superhit, Barefoot in the Park.