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- <text id=89TT0001>
- <title>
- Jan. 02, 1989: Theater:Best Of '88
- </title>
- <history>
- TIME--The Weekly Newsmagazine--1989
- Jan. 02, 1989 Planet Of The Year:Endangered Earth
- </history>
- <article>
- <source>Time Magazine</source>
- <hdr>
- THEATER, Page 102
- BEST OF '88
- </hdr><body>
- <p> CHESS
- </p>
- <p> London's frantic multimedia hit was rewritten for Broadway
- as a tender, doom-struck musical meditation on how East-West
- politics crush individuals. Trevor Nunn's trademark cinematic
- staging gave narrative clout to the best rock score ever
- produced for the theater.
- </p>
- <p> THE COCKTAIL HOUR
- </p>
- <p> Playwright A.R. Gurney is at his peak in this charming Wasp
- family comedy about a writer's relatives yearning for privacy,
- transplanted intact from San Diego's Old Globe. Nancy Marchand
- glows as the slightly sozzled matriarch.
- </p>
- <p> DINNER AT EIGHT
- </p>
- <p> The classic dawn-of-the-Depression satire was hauntingly
- revived by New Haven's Long Wharf Theater. A superb cast of 24
- included Elizabeth Wilson as the pathetic social climber and
- Charles Keating as the broken-down actor immortalized on film by
- John Barrymore.
- </p>
- <p> EASTERN STANDARD
- </p>
- <p> Insider trading, bag ladies, AIDS and nouvelle cuisine --
- everything '80s gets skewered, then sentimentalized, in this
- stylishly acted and wittily observed Broadway satire spawned at
- the Seattle Repertory.
- </p>
- <p> THE GRAPES OF WRATH
- </p>
- <p> Chicago's Steppenwolf troupe adapted Steinbeck's novel of
- the Dust Bowl into an absorbing three-hour docudrama marked by
- ruthless unsentimentality about the Joad clan, clinging
- haplessly and disastrously to folk wisdom and totemic faith in
- the family.
- </p>
- <p> KING LEAR
- </p>
- <p> At the Stratford Shakespeare festival in Ontario, director
- Robin Phillips and star William Hutt brilliantly reinterpreted
- the title role as a dotard whose authority has long faded and
- whose daughters' stern discipline is common sense in the face of
- senility.
- </p>
- <p> M. BUTTERFLY
- </p>
- <p> Politics makes the strangest of bedfellows in this
- operatically showy and entrancingly acted Broadway drama, based
- on the real-life romance between a transvestite Chinese opera
- performer (B.D. Wong) and a French diplomat (originated by John
- Lithgow) who believes his love is a real woman.
- </p>
- <p> MIRACOLO D'AMORE
- </p>
- <p> Clowns and choruses, nudes and birdsong enlivened Martha
- Clarke's surreal fantasy of love and violence, a montage of
- painterly and powerful images first seen at the Spoleto Festival
- U.S.A., in Charleston, S.C.
- </p>
- <p> NOTHING SACRED
- </p>
- <p> George F. Walker wryly adapted Turgenev's Fathers and Sons
- so that student anarchism in 1860s Russia paralleled the
- polemics of Marxist collegians in 1960s America. Tom Hulce
- (Amadeus) starred in the first of a raft of U.S. stagings, at
- Los Angeles' Mark Taper Forum.
- </p>
- <p> SPOILS OF WAR
- </p>
- <p> In Michael Weller's poignant memoir, off-Broadway and
- briefly on it, Kate Nelligan gave the performance of the year as
- an Auntie Mame mom, mingling furtive boozing and strutting
- glamour, dignity and desperation.
- </p>
-
- </body></article>
- </text>
-
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