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- <text id=91TT2634>
- <title>
- Nov. 25, 1991: Critics' Voices
- </title>
- <history>
- TIME--The Weekly Newsmagazine--1991
- Nov. 25, 1991 10 Ways to Cure The Health Care Mess
- </history>
- <article>
- <source>Time Magazine</source>
- <hdr>
- CRITICS' VOICES, Page 20
- </hdr><body>
- <p> MOVIES
- </p>
- <p> THE PEOPLE UNDER THE STAIRS. Bumbling burglars, wiseacre
- kids, nasty adults, guilty secrets: this spook sonata sounds
- like a forced merger of Home Alone and Arsenic and Old Lace.
- The movie is all setup and little payoff, but writer-director
- Wes Craven (the first Nightmare on Elm Street) and a good cast
- make it fun. Sometimes the best part of a horror movie is
- waiting to be scared.
- </p>
- <p> FRANKIE & JOHNNY. Now that Garry Marshall's comedy about
- displaced lovers in New York City has proved to be a fall flop,
- we like it a little more. See it (in an uncrowded theater) for
- Michelle Pfeiffer's sad beauty, Al Pacino's drooling-puppy
- ardor, Nathan Lane's good-natured bitchiness.
- </p>
- <p> TELEVISION
- </p>
- <p> CLASSIC WEEKEND II (CBS, Nov. 23-25). CBS has found gold
- in its rerun vaults. Following last season's high-rated
- tributes to All in the Family and Mary Tyler Moore, the network
- has put together clipfests of M*A*S*H, The Bob Newhart Show and
- (for a second time) The Ed Sullivan Show.
- </p>
- <p> HOT COUNTRY NIGHTS (NBC, debuting Nov. 24, 8 p.m. EST).
- Dolly Parton failed a few seasons back, but this music series
- will try again to cash in on the nation's love of country.
- </p>
- <p> LAND OF THE EAGLE (PBS, Nov. 24-27, 8 p.m. on most
- stations). "For the Cherokee, autumn is a time of great renewal..." If you can survive George Page's droning narration,
- you'll better appreciate the lush photography in this eight-hour
- survey of the natural history of North America.
- </p>
- <p> MUSIC
- </p>
- <p> JOHNNY ADAMS SINGS DOC POMUS: THE REAL ME (Rounder).
- Superb R. and B., recorded in New Orleans this past spring
- shortly before the death of the songwriter it does so proud. Doc
- Pomus, who wrote his fair share of classics (Save the Last Dance
- for Me, This Magic Moment), had a lyric finesse that could not
- only match but also bring out the best in his collaborators.
- Prominent among them was the estimable Dr. John, who co-wrote
- seven of these 11 cuts, all sung by Adams with a soul of fire.
- </p>
- <p> ABBEY LINCOLN: YOU GOTTA PAY THE BAND (Verve). Abbey
- Lincoln has done it all--supper-club singing, song writing,
- movie acting (The Girl Can't Help It, For Love of Ivy). Now on
- the comeback trail as a jazz diva, she combines the emotions of
- Billie Holiday with a personal delivery rooted in her own
- poetic lyrics. Never has her talent been better displayed than
- on these 10 songs, five of them from her own pen, featuring
- outstanding backup work by the late tenor-sax great Stan Getz.
- </p>
- <p> DVORAK, SYMPHONY NO. 6; JANACEK, TARAS BULBA (London).
- Though Dvorak composed at least four great symphonies in which
- Czech-flavored melodies flow with Schubertian ease and Brahmsian
- grandeur, he is known mostly for his ninth, the "New World."
- Christoph von Dohnanyi leads his Cleveland Orchestra here in a
- fine performance of the sixth and a deftly dramatic reading of
- Leos Janacek's programmatic rhapsody Taras Bulba.
- </p>
- <p> THEATER
- </p>
- <p> THE HOMECOMING. A quarter-century's passage and a
- second-rate Broadway revival reveal that what seemed scary,
- mysterious and darkly funny in Harold Pinter's signature work
- was mostly just implausible. The one strong performance, by Roy
- Dotrice as a chortling gutter patriarch, lacks the ferocity of
- Paul Rogers in the original.
- </p>
- <p> DISTANT FIRES. Race is the issue in a union job contest
- that embodies many of the conflicts of blue-collar life. Kevin
- Heelan's pungent and poetic language gets a fluid off-Broadway
- staging by Clark Gregg.
- </p>
- <p> ELMER GANTRY. A robust satiric novel, then a romantic
- movie, now Sinclair Lewis' tale of a ne'er-do-well turned
- preacher is a brooding stage musical at California's La Jolla
- Playhouse.
- </p>
- <p> ART
- </p>
- <p> THEATER IN REVOLUTION: RUSSIAN AVANT-GARDE STAGE DESIGN
- 1913-1935, the California Palace of the Legion of Honor, San
- Francisco. To many, the birth of Soviet Russia was a heady time
- that promised freedom from bourgeois artistic shackles. On
- display are 250 works of art including costume and set designs
- and posters by such artists as Malevich, Rodchenko and
- Lissitzky. Through Feb. 16.
- </p>
- <p> WISDOM AND COMPASSION: THE SACRED ART OF TIBET, IBM
- Gallery of Science and Art, New York City. A show of 150 scroll
- paintings and sculptures from the occupied homeland of the Dalai
- Lama. Through Dec. 28.
- </p>
- <p> ETCETERA
- </p>
- <p> NEW YORK CITY BALLET. The winter season opens with a
- preview of a new work by ballet master in chief Peter Martins,
- whose splendid Sleeping Beauty was last spring's headliner. Set
- to Bach's A Musical Offering, it will feature eight of the
- company's glittering principals. Nov. 19 to Feb. 23.
- </p>
- <p> SALZBURG MARIONETTE THEATER. A strange but mesmerizing
- take on Mozart's operas is offered by the 78-year-old troupe of
- master puppeteers whose exquisite dolls take the stage to the
- accompaniment of first-class recordings. In the repertory are
- Don Giovanni, The Marriage of Figaro and The Magic Flute. Nov.
- 19 to Dec. 8 in Toronto, New York City and the Los Angeles area.
- </p>
- <p> ON TRACK
- </p>
- <p> The night before his Pulitzer Prize winner, The Piano
- Lesson, started rehearsals at the Yale Repertory Theater in
- 1987, August Wilson began drafting the next installment of his
- 10-play cycle about American black life. That work, Two Trains
- Running, at Washington's Kennedy Center through Dec. 7, is
- following its predecessors Fences, Ma Rainey's Black Bottom and
- Joe Turner's Come and Gone on a meticulous route of regional
- development toward Broadway. Wilson loves blues music, and his
- plays all have a bluesy structure of alternating humor and
- lament, rhythm and ritual punctuated by violent outburst.
- Outwardly a slice of late-1960s life in a Pittsburgh
- luncheonette where no one speaks of the turbulent public events
- of the day, Two Trains subtly embodies the entire black
- political dialectic from that time to this--isolation vs.
- assimilation, hostility toward vs. cooperation with whites,
- clinging to bitter memory vs. moving on into a better world. The
- ending is pure serendipity, street crime transmuted into poetry.
- </p>
- <p>By TIME'S REVIEWERS. Compiled by Linda Williams.
- </p>
-
- </body></article>
- </text>
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