He never thought of the era when he wrote TV comedy as the Golden Age. For him that honorific was reserved for the earlier epoch of Sid Caesar and Carl Reiner. But Marty Nadler, staff writer and producer in the 70s and 80s of Happy Days, Laverne and Shirley, Chico and the Man, The Odd Couple, Perfect Strangers, Valerie, and Amen, was part of a time in Hollywood entertainment that, hands down, is considered Most Funny.
The American Dream can conjure up many images. Something to aspire to, something that excludes, something that is as prevalent as ever or something outdated and no longer even available to anyone. In any case, it is a particular American phrase and way of life and something most everyone has an opinion about. The problem arises when discussing the topic with family or friends; like anything leaning toward the political, it can get a bit too hot to handle.
From the streetfront, the Vineyard Arts Project appears to be another large house on Main street. There is no hint that past its picket fence is unfolding, in turn: life on the Texas-Mexico border; family drama at a racially-charged estate; and people singing and dancing about the financial crisis.
Tennessee Williams (1911-1983) was born in Columbus, Mississippi, with all the proper psychological accoutrements to become a great writer. His family was abysmally dysfunctional, his mother a narcissist with a streak of snobbery, denial and grandiosity (much like the mother in The Glass Menagerie), and his father an often-absent, smalltime businessman with a temper, active fists and an aversion to his delicate son, who, as we all know, was destined to grow up to be a homosexual, a tough row to hoe in the deep South.
This week the play 5 Mojo Secrets began its run at the Vineyard Playhouse. The play tells the story of a successful African American couple as they try to sort out what happened to their once happy marriage. It is a subject every married couple, even the happiest, can relate to. After all, how do two separate individuals retain their own identity and aspirations while also becoming that one unit known as husband and wife? It is a challenge that many decide is just too great.
Mark the calendars, the Edgartown school play takes place next Friday and Saturday, Nov. 4 and 5 at 7 p.m.
This year’s production is called Bluebeard and is billed as a spooky musical tale. Bluebeard is based on a cautionary tale involving sisters Mary Stephanie and Mary Elizabeth and their search for the man of their dreams. Of course, when trying to follow a dream, it is not uncommon for nightmares to infiltrate the landscape. The show visits both the humorous and haunting sides of this journey.
James Lapine (pictured) has won the Tony Award three times for the best book of a musical, for Into the Woods, Passion and Falsettos. His list of other Broadway and Hollywood credits is long and illustrious.
Mandy Hackett is the associate artistic director of the Public Theatre in New York city, one of the most vibrant and important performance spaces in New York city and therefore, by extension, the world.
Each summer the folks at the Vineyard Playhouse host a series they call Monday Night Specials. This summer’s series began last Monday and runs through the summer to August 29. The idea is simple. Host one-night-only readings of plays. If you’ve never been to a reading, the experience is well worth it.
Spalding Gray was a brilliant monologist. He walked onstage, sat down at an empty desk, except for a glass of water, and proceeded to mesmerize the audience. He did not need props, a backdrop, nor bells and whistles of any kind. His subject was his own life, weaving autobiography with an emotional terrain of depth and complexity.
The late great star of the stage, Katharine Cornell, who lies buried behind the theatre she bequeathed to the town of Tisbury, would approve of the choice of The Turn of the Screw for the Island Theatre Workshop’s Halloween presentation.
