Circuses tend to get a lot of coverage in these pages. Two good reasons for this are the creepiness of clowns and the fanaticism of animal-rights groups. But we like circuses…or the idea of them, anyway. Take the grittiness of Anthony Quinn’s strongman in Federico Fellini’s 1954 masterpiece La Strada,…
About a month ago, the Dallas Theatre League held a meeting of theater reps from Theatre Three, Dallas Theater Center, Our Endeavors, Echo Theatre, and Lyric Stage, among others, and various media types, including yours truly and Tom Sime from The Dallas Morning News. Several topics were introduced and then…
The action in most of Edward Albee’s plays are lips flapping, fingers pointing, and people pacing and occasionally changing seats. His plays — from 1966’s A Delicate Balance to 1994’s Three Tall Women — are all talk. This includes Seascape, his 1975 Pulitzer Prize-winning comedy Circle Theatre is currently producing…
Cliff Redd is coming up on the first anniversary of his self-proclaimed “life sentence.” The John Lithgow look-alike fairly squirms in his seat as he talks about his return to the Shakespeare Festival of Dallas, where he took up last April 15 where he left off in 1997 as executive…
At times, it appears his head will come clean off — detach from his bulgingthrobbingbursting neck and shoot straight into the air, where it will explode in a shimmering display of rainbow confetti and gray matter. But that’s not before his eyes pop out of his skull, spurting toward the…
Once upon a time, there was a girl who loved to tell stories. She was quite sure she had some very interesting tales to tell, tales that other people needed to hear. She fancied herself a fascinating storyteller, one whom people would search out for her inimitable skill with words…
Walking papers Guess there simply wasn’t enough “green” at the McKinney Avenue Contemporary on St. Patrick’s Day, or so administrative manager Mary Nicolett was told when she found out she would be out of a job beginning April 21. “I was told it was budget constraints,” says Nicolett, who has…
The drug of romance and its rotten hangover are nothing new to stage, screen, and stereo. You’ve got your Capulets and Montagues, your Griffin and Phoenix, your Ike and Tina. Cautionary tales, the lot. (The formula is as follows: Person + Person + Lovethang – Brains = Emotional Abattoir yielding…
Even the press kit is up-front about it: Whatever It Takes is less a film than a product of marketing research and demographic considerations. It might as well have been written on a bar graph, so fetishistic is it about making sure it appeals to teens and their parents –…
Such a Long Journey is set in Bombay in 1971, shortly before the war between India and Pakistan. Gustad Noble (Roshan Seth) is as middle-class as they come: A bank teller for 20 years, he works hard to support his wife, Dilnavaz (Soni Razdan), and children. But such is the…
Is America ready for the Hong Kong action style? Certainly there are many fans of the more balletic, guns-and-martial-arts, fly-through-the-air movies that have inspired everyone from Quentin Tarantino to the Wachowski brothers. Yet Hollywood still seems to have had trouble marketing the concept. Yes, John Woo gets high-profile projects, but…
Here on Earth, the new teen romance, should do wonders for the reputation of veteran director Arthur Hiller. Not that Hiller had anything to do with the film, mind you — which wouldn’t do wonders for his rep. No, Hiller is the man who, back in 1970, directed the inexplicably…
It’s again that time of year, when we gather to praise Bart Weiss for keeping afloat the Dallas Video Festival against all odds (the odds being, in this case, a city in which culture means Mark Cuban). In its 13th year, the DVF has yet to make Weiss a rich…
In director Jem Cohen’s films, especially earlier efforts such as 1987’s This Is a History of New York and 1992’s Drink Deep, he manages to tell a story without letting on exactly what story he’s telling. Meaning: He’s definitely saying something, but it’s up to the viewer to decipher what…
The film is called Erin Brockovich, but it might as well be titled Julia Roberts. Never before in the actress’ erratic career has a film been so custom-made for her; it’s as though a screenwriter has been replaced by a seamstress who knows Roberts’ every curve. No matter that she…
The gun is a coward’s weapon — always has been, always will be. Likening it to the sword is like equating rape to romance. However, for reasons that can only be attributed to collective insanity, Hollywood absolutely loves to romanticize the gun, serving as an adjunct advertising agency for the…
“You are here to heal, so start healing!” announces a plucky nurse (Linda Bassett) to a grumbling trio of wounded men convalescing under her care in a crowded London hospital room. Dramatically, the scene marks as good a place as any to focus on writer-director Jasmin Dizdar’s complex and truly…
Hollywood may be crass when it comes to cloning success, but it’s not alone. Take the British Isles, for instance, ever since the success of a certain working-class comedy about unemployed louts turned male strippers. It seems as if there’s been a law put into effect that every comedy out…
What if fate has something horrific in store for you, and you can’t escape it? It’s an idea that has been around for a long time, from Oedipus Rex to The Twilight Zone. Cinematically, we tend to prefer the idea that destiny is going to be a positive force (Star…
It’s a movie cliché that when someone is possessed by a spirit or Lucifer himself, the bewitched one takes on the mannerisms and speech patterns of the possessor. The effects can be subtle: demon-possessed victims singing a Rolling Stones tune in Fallen. Or they can be a bit more, um,…
Unbuckling the Bible beltWriter-performer Paul Bonin-Rodriguez thinks Dallas is the perfect place to unleash his irrepressible, small-town, Dairy Queen-working “sissy boy” alter-ego, Johnny. He also believes the McKinney Avenue Contemporary’s theater space is the perfect venue to tell “The Bible Belt and Other Accessories,” even though he’s heard of the…
Painter Edvard Munch said, “The camera will never compete with the brush and the palette until such time as photographs can be taken in heaven or hell.” To him the camera was clinical, confined to here and now. It was, and still is, objective. A camera can’t feel sorrow, joy,…
