Jerry Mulligan is an American striving to make it as a painter in Paris. Following an encounter with a dancer named Lise, the streets of Paris become the backdrop to a sensuous romance of art, friendship and love in the aftermath of war.
Set in 1860s Bangkok, the musical tells the story of the unconventional relationship that develops between the King of Siam and Anna, a British schoolteacher whom the King brings to teach his many wives and children.
Ruthie Ann Miles
A story of 2 combative shop clerks, Amalia and Georg, who are not aware that they are the recipients of each other's secret love letters. Based on the play, Parfumerie, written by Miklós ... See full summary »
The former Weismann's Follies girls return to their old theatre one last time. At the core of the story are two married couples on the brink of collapse. As the night goes on, egos are unleashed, lies are exposed, and secrets are revealed.
Tim Van Someren
"You Can't Take It With You" is hailed one of the greatest revivals and filmed plays for PBS television. David Woods brought stunning charm, humor, and time to this Moss Hart masterpiece. ... See full summary »
Jerry Mulligan is an American GI striving to make it as a painter in a city suddenly bursting with hope and possibility. Following a chance encounter with a beautiful young dancer named Lise, the streets of Paris become the backdrop to a sensuous, modern romance of art, friendship and love in the aftermath of war.
The background, among other things, is an interesting detail...
It won't remain unnoticed, despite being the silent accompaniment, as it constantly changes and revolves, with a projector somehow making it seem as if the scene (water, often) is real.
It is something that ends up having an impressive result, sets up quite an atmosphere, along with the lighting... even the abstract sets at the end are simply interesting, although later on they end up making artistic sense.
Even the efficiency with which the stage was modified was compelling to notice... people mostly wheeled them out, but they did it not in a very intrusive manner; lighting (or lack of it) was also in this case used to create shadows or hide some background machinations, and in the end it is as if it is an entirely different theatre.
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