(Clicking on a name bolded in blue will take readers to that actor or show's entry in the Playbill Vault.)
at the end of the Great Depression in 1939, leaving New York City to settle in a small town near Rochester. The first (and still) memorable performances that influenced me were those of my father in plays like Papa Is All, in which he played a black-suited, bull-whip wielding Mennonite tyrant, and Gore Vidal's The Best Man, in which he played the dying President of the United States. His death onstage left me paralyzed, unable, for a time, to get up and leave my seat in the Rochester Community Playhouse." |
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Who's Afraid of Virginia Woolf?
The play was a stunning, shattering experience, each of its three acts building in tension and energy to what seemed like an impossible level. I had never seen a performance like Uta Hagen's, and so I chose this great actress to be my acting teacher a few years later, studying with her for four years." |
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For six months I had the privilege of watching great comic actors in the world wring laughs out of happy audiences eight times a week. Zero Mostel was the star, but my favorite was Jack Gilford, whose portrayal of Hysterium was a crash course in being side-splittingly funny." |
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The Servant of Two Masters
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more proud to be an American actor, playwright and director. Director Gregory Mosher and his actors made thrilling theater out of Mamet's dark, nasty play." |
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theater that year. Starting with Sex and Death to the Age Fourteen, his wry, funny stories, told mostly while sitting behind a table on which sat only a notebook and a glass of water, made me laugh and made me wonder 'Has Spalding changed the names of the real people he's talking about?'" |
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Bill Irwin in The Regard of Flight
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a degree that I had to leave the theater for a moment to compose myself. Fortunately I was in a seat on the aisle. I returned to the theater quickly and went back to see the play again. I'd not seen such great acting since watching my father onstage in the late 1950's." |
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