Weihnachtsgrüße aus dem Erzgebirge (German Edition)

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The bespectacled, impish Mr. Hague said he never foresaw his acting career: "Absolutely no," he said. It was very meaningful both to Renee and myself.

redhead a play in one act Manual

It was, economically, an enormous jackpot to us. And it made us move to the West Coast. We always lived in New York. The pair met in Cleveland in when Mr. Hague was scoring an ill-fated rewrite of Turandot with book and lyrics by Maurice Valency. The show was called The Reluctant Virgin, but producers in Cleveland thought that was too racy, so it was changed to The Reluctant Lady.

In , Ms. I had just graduated Carnegie Tech, and I knew that if I was coming to New York the most exciting thing that could happen to me would be to meet a composer, somebody who is doing big shows in New York. I happened to be dating my leading man at the time, and here was this tall, skinny, almost cross-eyed European guy who had enough energy for 10 people.

I was sunk. Hague admitted later in his career he once wrote a song for Chevrolet called "I'm in Love With a Lovely Chevro-Lady," and that because he never sold his industrial and commercial pieces outright, he still owned the rights to the advertising arcana. Hague said he was "extremely happy" with the Goodspeed Opera House revival of Redhead, the first major revival since Hague told Playbill On-Line. Of his Redhead collaborator, Mr.

Hague said, "Dorothy is one of the few geniuses I've had the pleasure to work with.

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One of the little secrets she tried to keep is that she never went to college, and she had an incredible use of language. Of Hague's ill-fated Miss Moffat, Mr. Hague said, " Miss Moffat was one of the most horrendous experiences I ever had in my life. Bette Davis is a genius, but she just was not of the theatre.

If Bette Davis made one syllable wrong, she got so mad at herself. She couldn't say, 'Cut! Hague said Davis, who would drink heavily after performances, made an "edict" that prevented Hague from working with her at a piano, despite his being one of the most sought-after vocal coaches in New York. Hague said. She was not a musician, but she sang perfectly all right. He said Davis once wrote him a note saying she thought his score was among the best she'd ever heard.

Festival of One Act Plays

Asked if the show was revivable, Mr. Hague said in , "I have to make up my mind what I want to do with my life: Go back rewriting the old stuff or write new stuff. Staples shifts from character to character on stage, changing makeup, wigs, and costumes while the audience looks on. The character-changing interludes, supplemented by recorded musical, are fascinating glimpses into theatrical artifice. For the most part, Staples is so sure in her command of the physical, vocal, and emotional details of her characters that once her conversion is completed, the viewer immediately is absorbed in the monologue.

Unfortunately, not all the characters come off with equal success, through no fault of the performer. Could any mature woman convincingly portray a four-year old boy playing with his toys on the floor and crying for his mommy?

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And the husband is portrayed as a beer-swilling punk. We are told that Graham is actually a moderately successful middle-class white-collar worker but he looks and sounds like he should be pumping gas for a living. Rhonda ends the play with a triumph-of-the-human-spirit monologue I found confusing and unconvincing. By this time some of the holes in the writing were weighing on my enjoyment of the evening.

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Lynette turns from a nosy and meddling neighbor into a full-fledged villain, at least in the eyes of other observers. We only see her once, early in the play where we learn of her role as instigator of the violence in the food court. Yet how was she to know that Rhonda would go crazy at the sight of the supposed home wrecker?

The play runs 2 hours and 15 minutes with an intermission, about 30 minutes too long. It exists as a heart-tugger but I felt a little embarrassed watching Staples on her hands and knees as a little boy. The monologue involving the elderly lady allows Staples to further extend her acting range but the character is tiresome. The production fits snugly in the intimate Writers Theatre space at the rear of a bookstore in downtown Glencoe.