(Clicking on a name bolded in blue will take readers to that actor or show's entry in the Playbill Vault.)
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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?
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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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