Before he directed Citizen Kane, Orson Welles was already famous. He was an enfant terrible of that new medium radio — one of his plays, an adaptation of War of the Worlds by H.G. Wells, famously terrified the nation in 1938. He was also known as a wunderkind of the stage.[...]
Stephen Sondeim’s “Send in the Clowns,” like the much mangled “Memory” from the much maligned musical CATS, has weathered any number of ill-advised interpretations.[...]
Between the mid-nineteenth and early twentieth centuries, men and women alike made scrapbooks as a way of processing the news. As Ellen Gruber Garvey shows in her book Writing with Scissors: American Scrapbooks from the Civil War to the Harlem Renaissance, the practice crossed lines of class and gender. Everyone from Mark Twain and Susan B.[...]
Long before he played Gandalf or Magneto, Sir Ian McKellen was known as one of the finest stage actors in England. A stand out in the Royal Shakespeare Company, Sir Ian played the lead in its 1974 staging of Doctor Faustus and its 1977 staging of Macbeth.[...]
The Yale Puppeteers, consisting of Forman Brown, Harry Burnett, and Roddy Brandon, came together in the 1920s and spent almost the next seven decades touring the United States, putting on satirical performances that featured puppets in starring roles.[...]
Having spent the fall lounging in the bath dressed as a lobster, and gamboling around New York City with Waiting for Godot cast mate Ian McKellen, the irrepressible Patrick Stewart brought 2013 to a close by indulging a curious fan of NPR’s How To Do Everything podcast.
Her question? What do English cows sound like when they moo.
Before Urban Outfitters and Project Impossible, before the adorable bickering ubiquity of spokespeople James Garner and Mariette Hartley, Polaroid kept things classy by entrusting its reputation to the most serious of serious actors.
Take Laurence Olivier.
A Fool’s Idea is a conversational documentary series, produced by Brian A. Bernhard, that pursues the fool in all his permutations.[...]
To write an obituary for Peter O’Toole, who died this past Sunday, I would pick no other writer than New Yorker film critic Anthony Lane. Luckily, the New Yorker had the same inclination. In his “postscript” piece on O’Toole, Lane references one of my favorite pieces of television talk, viewable above.[...]
Yes, you read correctly: there exists a piece of theater whose production brought together three of the most ardently-followed, iconoclastic creators of recent decades.[...]