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Post by juniormauraTfan on Jul 4, 2011 3:57:16 GMT 10
www.ruralintelligence.com/index.php/parties_section/parties_articles_parties/celebrating_three_hotels_at_williamstown_theatre_festival/?utm_source=twitterfeed&utm_medium=twitterThe spirit of the Williamstown Theatre Festival (WTF) is best expressed on its opening night: The entire audience is always invited to the post-performance party along with the scores of young apprentices who are spending their summer honing their theatre skills under the tutelage of Broadway veterans. On Thursday, June 30, the mood was giddy under the tents erected on the lawn of the 62 Center for Theatre and Dance where Mezze Catering served sparkling wine, beer and cupcakes following an exquisitely provocative revival of Jon Robin Baitz’s Three Hotels, the story of a former Peace Corps worker who loses his soul, along with his wife and son, by climbing the corporate ladder at a multinational company that pushes baby formula on women who don’t need it in the Third World. WTF is justifiably famous for its commitment to all the theatre arts, and the sets for Three Hotels were especially magnificent and watching the scene changes was sheer delight.
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Post by Martine on Jul 4, 2011 20:49:42 GMT 10
Ethical and moral vacancies in ‘Three Hotels’
At one time, Kenneth and Barbara Hoyle, played by Steven Weber and Maura Tierney, were Peace Corps volunteers who thought they could change the world. By the time we meet Kenneth, an executive at a multinational corporation, it’s clear that he’s done his bit to change the world, all right, but in all the wrong ways, with a corrosive effect on Barbara and on their marriage.
“Three Hotels,’’ now at Williamstown Theatre Festival under the direction of Robert Falls, is a serious and thoughtful but fragmentary work whose dramatic impact is diminished by Baitz’s decision to structure this two-character drama in the form of three monologues.
This opens a revealing window onto the characters’ troubled souls, but because Kenneth and Barbara never directly interact, and marital and corporate showdowns are described rather than depicted, one ends up with the nagging feeling there’s a bigger, better play locked inside the narrow format of “Three Hotels.’’ (Written two decades ago, this is an early work by Baitz, who won acclaim last year for “Other Desert Cities.’’)
Within those constraints, Weber and Tierney deliver searching, solidly committed performances. As he demonstrated in A.R. Gurney’s “Love Letters,’’ opposite Laura Linney, and in several TV dramas that followed his early success with the sitcom “Wings,’’ Weber has a knack for playing men who carry themselves with an outward confidence that does not quite conceal inner doubts. There’s often something tentative about his smile, a watery weakness just beneath the surface of those strong features.
In “Three Hotels,’’ Weber projects the worldliness, corruption, and eventual desolation of a man who has thoroughly misplaced his moral compass while climbing the corporate ladder.
At first, he seems utterly sure of himself. Sipping a cocktail in a hotel room in Tangier, Morocco, the picture of a never-off-the-clock businessman in his striped tie and pleated pants, Kenneth recounts how he made his bones by being willing to travel to distant branch offices and carry out, with smooth celerity, the dirty business of firing employees. (In this, “Three Hotels’’ anticipated the George Clooney character in “Up in the Air’’).
But Kenneth’s career really accelerated after he devised a marketing campaign to sell baby formula in impoverished African nations, complete with the deceptive touch of saleswomen dressed in nurse’s uniforms. However, the formula turned out to be defective, causing so much disease and death that Kenneth’s company was the subject of a “60 Minutes’’ piece, lumped in with Union Carbide and the Dalkon Shield. The play’s portrait of corporate exploitation of the developing world and the go-for-the-jugular ruthlessness of businessmen may remind you of John le Carre’s “The Constant Gardener’’ and David Mamet’s “Glengarry Glen Ross.’’
On the homefront, meanwhile, Barbara delivered a devastating verdict of her own, calling her husband “the Albert Speer of baby formula,’’ according to Kenneth (who, not so incidentally, had changed his name from Hirshkovitz to Hoyle when he entered the corporate world).
Barbara was similarly unrestrained when she delivered a talk to the wives of other executives at a company retreat in St. Thomas. As she describes it to us hours after she gave it, the speech began as a guide to what the wives should expect during overseas assignments, but what then poured out of Barbara was a compound of different kinds of grief - for the unrecognizable figure her husband had become, for the turn her own life had taken, and, especially, for a family tragedy that Kenneth did not mention, at least not directly, during his first monologue.
Anyone who saw Tierney during the years when she more or less carried NBC’s “ER’’ knows that the character of a woman of conscience, fundamentally strong but fraying at the seams, is a pitch right in her wheelhouse. Her performance is moving in and of itself, but Tierney’s recent battle with breast cancer lends it an extra layer of significance and resonance. This fine actress makes every minute count in “Three Hotels’’ (and she has to, because she spends considerably less time onstage than Weber).
By the end, Kenneth is in another hotel room, this one in Oaxaca, Mexico, where he and Barbara had gone on their honeymoon. His circumstances have been drastically altered. He seems to be looking for something he’s lost - his identity, or possibly his soul.www.boston.com/ae/theater_arts/articles/2011/07/04/corporate_misdeeds_and_a_couples_troubles_in_three_hotels/
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Post by Dianne on Jul 5, 2011 6:48:37 GMT 10
Thanks ladies!! For the reviews and articles! Cool!
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Post by Martine on Jul 6, 2011 0:08:44 GMT 10
Theater Review | 'Three Hotels' Marital Bankruptcy Filed in Faraway Places
WILLIAMSTOWN, Mass. — The less-than-dutiful executive wife, speaking of her upwardly bound husband, observes that “firing people has become sort of a prayer” for him. This poetic fusing of corporate cruelty and humble religious faith gives off a small taserish shock. It’s a zinger that you can imagine being wielded with bright and withering contempt by a worldly woman with a savage smile.
T. Charles Erickson Steven Weber in Jon Robin Baitz's “Three Hotels.” But in the elegant revival of Jon Robin Baitz’s “Three Hotels” at the Williamstown Theater Festival here, directed with delicacy by Robert Falls, Maura Tierney doesn’t linger on that line, and if you aren’t listening closely, you might miss it. Ms. Tierney instead rushes through those words, with a catch in her voice, as if her character were ashamed of her fearsome insight into her husband and of the terror and pity that inform it.
“Three Hotels,” which runs here through July 24 and also stars Steven Weber, invites such layered line readings. This early work from Mr. Baitz, author of “The Substance of Fire” and the recent “Other Desert Cities” (scheduled for Broadway this fall) is a study of a polluted marriage, choking to death on moral compromises. Originally written for a public-television production in 1991, when Mr. Baitz was barely 30, this portrait of a love poisoned and shrunk by a corrupt business culture is obviously the product of an angry young writer, with many of the expected attendant clichés.
But a sorrowing empathy also infuses “Three Hotels” along with a precocious sense that the emotions that bind people and drive them apart are not easily parsed. Though this drama — produced Off Broadway in 1993 by the Circle Repertory Company — can feel both schematic (in its structure) and overwrought (in its accusatory disgust), it also provides evidence of Mr. Baitz’s gift for translating complicated feelings into a theatrical language that both sings and stings.
“Three Hotels” is the first offering on the Main Stage at Williamstown under the artistic directorship of Jenny Gersten, and it has been given a glamorous, full-dress production that feels slightly out of sync with what is by design a small play. Running less than 90 minutes, it is a series of three monologues spoken by Kenneth and Barbara Hoyle (Mr. Weber and Ms. Tierney) from different hotel rooms in far-flung locations.
When I saw “Three Hotels” Off Broadway in Greenwich Village 18 years ago, the intimate space there seemed appropriate for a work that uses the stage as a confession box. The Williamstown production features a series of detailed rooms (by Thomas Lynch) that speak suavely of the expense accounts of their inhabitants. These are big spaces for a lone performer to fill.
The expanded scale makes sense thematically though, and Mr. Weber and Ms. Tierney don’t get lost in space. It is clear from the play’s beginning — which finds Ken in Tangier, Morocco, on a mission to clear out “the deadwood” from his company’s international upper staff — that the play’s characters have been made, well, small by the professional world through which they move. And the loneliness of a man and woman who are estranged not only from each other but also from their own deeper selves is emphasized by the antiseptic vastness of their surroundings.
Ken is a rising star for a company that sells baby formula in third world countries. (He amends dryly that “developing nations” is the officially preferred term.) The company has been held up to public censure on “60 Minutes” for its part in the deaths and illnesses (through misuse of the formula) of African children. Ken has been doing damage control, a process that has demanded that he learn to see people as less than human, less than real.
Ken of course wasn’t always like this, and his wife, Barbara, mourns the death of the husband that was. (The play’s second scene, which takes place during a weekend company meeting in the Virgin Islands, is hers; Ken’s concluding monologue occurs in more modest digs in Mexico.) It turns out that he grew up the son of Jewish lefties, and he and Barbara were in the Peace Corps together. And, yes, he once said that it was people like them who would change this old world, and, yes, she believed him.
You see what I mean about this being a young-sounding play? What keeps “Three Hotels” this side of a diatribe, on the one hand, and a soap opera, on the other, is Mr. Baitz’s understanding of the carapaces that people develop when they are forced into long-running ill-fitting roles in life.
His script is rich in the wise-guy flippancy and sardonic brittleness that Ken and Barbara, respectively, have adapted for coping with what they have become. These styles embody attitudes that have grown into reflexes and have almost pushed out other, more natural feelings. I say “almost” because there is anger lurking not far beneath the surfaces — a rage exacerbated by the violent death of their only son several years earlier — that means both spouses are wired to self-destruct.
Ms. Tierney and Mr. Weber are best known for their work in television (she for “ER,” he for “Wings”). But nothing in their performances here suggests that their rhythms have been irretrievably set by short takes and retakes. They create, as they must, a sustained, fraught dialogue within their characters and with their physically absent spouses.
Mr. Weber is especially good at both displaying and dismissing, in one breath, the “manufactured thugishness” that his job has taught him. (He’s a tad forced in his climactic breakdown in the final scene.) And Ms. Tierney turns in a beautifully modulated, low-key performance that consistently and quietly taps the anguish that is always in Barbara, when the temptation would be to open the faucets.
Though it holds the attention, “Three Hotels” doesn’t quite feel like a full meal. (It didn’t when I first saw it either.) Mr. Baitz was still in his “promising” phase, which — to be honest — he seemed to inhabit for the succeeding decade and a half. His subsequent variations on the themes of love among the ruins of moral bankruptcy (including in 1996 “A Fair Country,” whose main characters and situations were a reworking of those in “Three Hotels”) were broader but never quite fully realized.
Then came Mr. Baitz’s “Other Desert Cities,” seen Off Broadway in a Lincoln Center production in January, a play that combined his poet’s ear and sociologist’s eye with a new confidence and sense of balance. It is satisfyingly complete. This made watching “Three Hotels” a more pleasant experience than it might have been otherwise. I knew there were better things to come and could luxuriate in how those dividends (to use Ken’s capitalist language) are anticipated here. theater.nytimes.com/2011/07/04/theater/reviews/three-hotels-by-jon-robin-baitz-at-williamstown-review.html?adxnnl=1&ref=theater&adxnnlx=1309874600-T4JDHxqW0iY2r20VlhJfmw
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Post by sissa on Jul 8, 2011 4:14:53 GMT 10
Review: Audience checks into WTF's ‘Three Hotels'K.D. NORRIS/Arts & Entertainment Editor Wednesday July 6, 2011 There are really three important characters in "Three Hotels," the Williamstown Theatre Festival's opening Main Stage performance of its 2011 summer season -- two actors up on stage and their intimate traveling companion that is the audience. And lucky travelers we are. Rarely is the audience so much a part of so intense, often uncomfortable, a story; rarely is it so fortunate as to share the stage with two fine actors stretching their artistic wings. "Three Hotels," Jon Robin Baitz's acerbic 1992 play, consists of three monologues, discussions with the audience really: Two by Kenneth Hoyle (Steven Weber) with one by his estranged wife, Barbara (Maura Tierney) between. It is set in three different hotel rooms around the world: Mysterious Morocco, the tourist heaven of the Virgin Islands and finally, a lover's escape in Mexico. And the settings of the three discussions -- the hotels -- are a perfect skeleton for the plot to hang. As Kenneth says early on: "In a hotel, everything is transitional." "Three Hotels" is all about lives in transistion. The time of the play, 1991, leaves it with a dated feel, but the time is of little importance other than being the full-flower of the "Wall Street" generation's "make money at any cost" business morality. The locations of the first two hotels is little importance as well, other than for their luxurious decadence. The location of the third, though, -- rural Oaxaca, Mexico, on The Day of the Dead -- carries weight for several reasons. Kenneth is a business man who has sold his soul for the almighty dollar but is now facing his day of judgment. Barbara is a woman who has lost everything: Her son, her marriage, almost her sanity. Uncomfortable enough for you yet? But the play, here directed with blunt straightforwardness by Robert Falls, does not beat you with the uncomfortable details, instead all the unpleasantness of the world of immoral business, and lost life and love, is presented to the audience as if you were an intimate of both characters on stage -- their best friend, their confessor, their anonymous, half-drunk bar mate; all of whom you spill your guts to. Kenneth and Barbara talk to you. You listen. You laugh uncertainly; you judge unconsciously; you cry inwardly. You wish you could help, but you can't. There is a feel to the play of the Golden Age of live television, and for good reason. Baitz wrote "Three Hotels" originally as teleplay for PBS-TV's American Playhouse, and his resume includes writing for "The West Wing." Both Tierney and Webber are probably best known for their work on television; she for "ER" and he for, among others, "Wings." Director Falls, though, has his roots firmly on the stage, Broadway and elsewhere, and he has the Tony Award nominations and trophies to prove it. And both Tierney and Webber are both clearly much more than "TV actors" -- a fact even the most unaware knows half a dozen lines into their monologues. Tierney's middle section -- where she practically breaks down before our eyes -- is delivered with power and heart and the fragility of a woman who has lost everything except her conscience. As she says to other business wives as honest but ill-advised advice for their upcoming life on the dirty road of international business: "Keep your own life or all you will have is dust." Tierney's one segment is too short, you want more; but then maybe one only needs a moment to collect the dust of a lost life. The play, however, is Webber's -- and he makes the most of it. In his first monologue, before our eyes, he transforms from a take-no-prisoners businessman, to a humbled soul accepting his guilt -- "If conscience is a sword, let it drop," he tells the audience at one point. And he gets what he asks for. His wife - and the audience - is his conscience, and it is unrelenting. In the final monologue, though, Webber beautifully shows us just how far Kenneth has fallen. He is collecting dust, some of his own making, some of his wife's, in a last attempt to reconcile with Barbara. Kenneth is a man searching for something to believe in, and we believe Webber is that man. For the audience, "Three Hotels" is uncomfortable - fascinating, powerful, disturbing but uncomfortable. The three-scenes within one act, 80-minute production flows swiftly. Falls, scenic designer Thomas Lynch, lighting designer James F. Ingalls, and production stage manager Eileen Kelly produce scene changes as if by magic; by stagecraft sleight of hand, right before your eyes. And it is that stagecraft magic that gives us -- in the final scene, a procession of the Day of the Dead -- a final fleeting glimpse we can only hope is glimmer of hope and not the ghosts of the dead outside that Mexican hotel room. "Three Hotels" continues at the Williamstown Theatre Festival through July 24, at the ‘62 Center for Theatre and Dance, 1000 Main St. (Route 2). For tickets call 413-597-3400 or visit wtfestival.org. Contact K.D. Norris at knorris@benningtonbanner.com. www.benningtonbanner.com/sports/ci_18423582
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Post by Martine on Jul 8, 2011 16:50:41 GMT 10
An Actress Shapes a New Storyline
For actress Maura Tierney, most days include 22 frightening minutes.
That's the time it takes her to deliver a monologue about the shattered state of her family in "Three Hotels" at the Williamstown Theatre Festival. She is on stage alone for roughly a third of the play, describing with matter-of-fact anger the loss of her child and her husband's moral collapse.
"It's scary to be responsible for the pacing of that," she said. "And you're out there on your own."
The 46-year-old actress, best known for her role as Abby Lockhart on "ER," plays Barbara Hoyle, a former Peace Corps volunteer whose corporate-executive husband has used dirty tricks to market a dangerous baby formula in the Third World. The play, by Jon Robin Baitz, runs through July 24 at the festival in the Berkshires of western Massachusetts.
Ms. Tierney, who underwent surgery and chemotherapy after a 2009 breast-cancer diagnosis, has been frank in discussing the disease, but she is not prepared to have her work viewed through that prism. When she learned that a recent Boston Globe review of "Three Hotels" praised her in part by arguing that her cancer fight added extra "significance and resonance" to her performance, she objected. "Does that mean I'm a better actor now?" she said. "That is annoying to me."
Starting this month, the actress will appear in the new season of the FX drama "Rescue Me," in which she had a recurring role in 2009 as a femme fatale. Ms. Tierney, who finished chemotherapy just before the new season started shooting, told her agent to warn the show's creators, Denis Leary and Peter Tolan, that she no longer looked the same. "You should tell them that I'm, like, practically bald," she said.
Instead of balking, they changed the storyline to reflect Ms. Tierney's life. Now her character is undergoing treatment for breast cancer. "I would say, 'This is what I experienced and this is what I felt,' and they would take that and write it," she said.
When it came to her character's health, she knew one thing she wanted: a good prognosis.online.wsj.com/article/SB10001424052702303365804576430241222358896.html?mod=rss_Arts_and_Entertainment&utm_source=twitterfeed&utm_medium=twitter
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Post by Martine on Jul 13, 2011 4:34:05 GMT 10
Here's a YT clip about the stage transition on 'Three Hotels'
In the very few last seconds we see Maura walk on the stage:
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Post by juniormauraTfan on Jul 14, 2011 0:03:52 GMT 10
berkshirereview.net/2011/07/three-hotels-baitz-robert-falls-thomas-lynch-wtf/Review. Critical towards Maura.. not nice to read. Some years ago, when my sons were small and I used to frequent school fairs and street fairs, I always looked at the inflatable play structures with trepidation. As the children bounced about on them, it seemed to me inevitable that some exuberant or malicious one among them would puncture the balloon, and I imagined the whole—roof and pillars, dinosaur head, safety nets and everything—slowly and harmlessly caving in, until there was nothing left but a flaccid heap of plastic and rubber...and a horde of thoroughly delighted children worming their way out to the street, running away, and dancing tauntingly before their distraught nannies or parents. Minus the kids, this experience and the attendant fantasy came to mind during the boring moments of Jon Robin Baitz's Three Hotels—of which there were many—and the evening gave me a more tangible idea of what such a deflation might actually be like: the show steadily kept on losing energy, until it finally collapsed. The play started out promisingly with Steven Weber's nicely honed characterization of a corporate hatchet man in the first section, but this already started to lose momentum before Maura Tierney's somewhat unsure turn as his neurotic wife, Barbara, and ended with the protagonist's confused agonizing over his downfall and his guilt about his relationship with his wife and their early ideals, signified by their reminiscences of the Peace Corps, where they met. Then there's Ken Hoyle's Jewish identity, which he abandoned to rise in the corporate world. (Barbara enjoys telling his business associates that his real name is not Hoyle, but Hershkowitz.) The production had some strrengths in Steven Weber's accomplished acting and above all in Tom Lynch's handsome sets...and I am a huge fan of his for his magnificent design for the Seattle Ring, the last pretty one left, it seems. Robert Falls' direction was restrained, respectful, and purposed. But there was nothing to hold any of this up, not even enough air. The play was far too weak to support Falls' good taste, Weber's talent, Tierney's lack of focus, and Lynch's handsome set, along with its purported agenda of inflaming us against multinational corporate wickedness. Whooooosh... Not that the play doesn't have something going for it either. Baitz has a touch for language: his characters' monologues are always convincing as educated American colloquial diction, but just a bit more precise and a bit more colorful, and Falls and Weber showed a keen ear for that. That was about it for Baitz. The corporate skullduggery promised entertainment, but it grew too earnest too fast, and there wasn't much that audiences haven't already seen many times before on tv or or in multiplexes. The news itself, as read in traditional newspapers, is a lot more colorful, shocking, and entertaining. Baitz managed to keep us in suspense a little during the first episode, but before it is over, it is clear enough where the play is going, and it's spent itself out. Actually I found Weber's work in the first act amusing and trenchant, but he (and his director) exercised a restraint that the play couldn't support. Weber hedged back, when he had an opportunity to caricature a villainous foreign accent or outrageously boorish behavior. Social plays have to entertain to make their point. Falls and Lynch surely remembered the classic climbers in the movies, like Kirk Douglas in The Sweet Smell of Success, and Weber even looked a bit like Kirk at significant moments, but he kept holding himself back. In a really good play restraint would he been admirable, but here a bit of bravado and caricatural foreign accents might have introduced a bit of energy and color that were otherwise lacking in the play. Maura Tierney was trying to project the languor of a troubled middle-aged woman, who is recovering from the effort of giving a speech before an audience, as well as the stress following an enormous, destructive gaffe, which she is trying to rationalize and prettify in her own conscience. Her concept of the character had some relevance to what was written, but her delivery lacked the sort of variety, color, and force that might make it entertaining. In the first act Weber was able to pepper his role with enough auditory and emotional dynamics to bring his character across to a live audience. The Main Stage also has an acoustical defect—a slight slapback—that can make lines hard ot understand, unless actors really project and enunciate. British actors are trained to overcome that sort of thing easily, and it posed no problem for Mr. Weber, but Tierney's delivery was so flat and the irregular pace of her lines so unsuited to live theater, that, although she was by no means incomprehensible, her characterization dissolved into the acoustics. Restraint did her portrayal and her character particular harm. Ken's references to her in the first segment led me to expect a stronger personality, a wife who was even somewhat formidable, but when we meet her in the flesh, she's actually something of a dishrag. The idea, I suppose, is that what she had to endure as the pampered wife of a high-paid executive abroad was so terrible that her public outburst in a situation where it was assured to do the least good. As a nervous breakdown, it’s a rather inglorious one.Some playwrights have taken on a social issue because they feel passionately about it and want to make a statement, others ride such issues opportunistically, and that was my impression here. In the second part, Barbara's monologue, Baitz turns on full the faucet in his luxury literary hotel bathroom and we hear all the backstory. Baitz's mistake is to make his play hinge on certain crucial facts: the improper marketing of baby formula in Africa and the death by stabbing of the Hoyle's teenage son on a beach in Rio de Janeiro. You've got to be a little more subtle than that, a little vaguer, even though it's only a MacGuffin. Even poor old Ibsen knew that. The point is that they can afford to buy their teenage son a Rolex (In fact, she doesn't name the brand, but we know what she's talking about.) for his birthday, and he's thoughtless enough to wear it to the beach. In this second "act" this unfortunate incident becomes the pivot of the Hoyles' relationship and the ethical clockwork of the play. Mr. Hoyle becomes an ambitious bastard, and Mrs. Hoyle a self-pitying, moralistic pest, eventually the cause of her husband's inevitable downfall. It is perverse that he apologizes to her after her moronically self-indulgent revelation, instead of feeding her to the sharks, as he might have, and our corporate creep ends up as rather a sap in his Mexican hotel room, many steps below the ones we've already seen: a suite in a deluxe chain hotel in Morocco and a resort hotel in the Caribbean, the venue of a retreat for executive wives in Ken's corporation—all made pleasant to the eye, if obviously tacky in their own ways. (Lynch doesn't miss the slightest detail.) I also have to say that I found the "Sophisticated Traveler" clichés about Mexico and Mexicans in the third act stupid and offensive. All the sets were shallow, based on flat, Lynchean arrangements of rectangular shapes, and impeccable work they were. Presumably that was the reason for scheduling this piffling revival on the main stage, while the oustanding classic production, Williams' A Streetcar Named Desire was relegated to the subsidiary Nikos Theater, when (Did I mentioned this?) Three Hotels is constructed as three monologues, one from husband, one from wife, then back to the husband. There is no need for a large set, and the excellence of Lynch's work only brings out the inadequacies of the play's concept and execution. Actually the Nikos could have accommodated the production on its stage, but Streetcar's marvellous claustrophobic set would have looked out of place on the main stage, and the theater-in-the-round effect would not have worked either. As it was, WTF had to turn eager ticket-buyers away from Streetcar, and Three Hotels played to a large house that was quite empty above the orchestra. The solo theater dramaturgy in itself seemed out of place on the main stage.
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mauke
Marquise of Luby
Posts: 296
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Post by mauke on Jul 14, 2011 7:42:24 GMT 10
I have a question; is there somebody who can help me? I really would like to have the radio interview from our girl on a cd, so i can listen anywere, anytime, anyplace?? I've tried to get it on cd, but it didn't work... Please, somebody?
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Post by aappccaa on Jul 14, 2011 13:10:21 GMT 10
Here's a YT clip about the stage transition on 'Three Hotels' In the very few last seconds we see Maura walk on the stage: fantastic! thanx!
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Post by Tara on Jul 14, 2011 22:21:54 GMT 10
The sets, the lighting and the music were fantastic - and extremely effective. It was all beautiful. I guess they don't give out awards for summer theatre, LOL, but if they did, the behind-the-scenes people on this show would deserve one.
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Post by juniormauraTfan on Jul 15, 2011 21:06:27 GMT 10
The WAMC Roundtable crew is on its way to the Williamstown Theatre Festival and will be broadcasting live. Twitter: WAMCRoundtable WAMC Roundtable Hitting the road for a live broadcast from @wtfest today, guests include @jgersten, @thestevenweber, Lewis Black, Justin Long and many more! Hope Maura will be there, too. I asked but I didn't get an answer yet! To listen live, click here www.publicbroadcasting.net/wamc/ppr/index.shtml and chose one of the links! Roundtable starts at 9am, 3pm for my timezone (Berlin timezone). Edit: Maura WILL be there: Host Joe Donahue, Producer Sarah LaDuke, and WAMC President and CEO Alan Chartock will be speaking with scheduled guests: Williamstown Theatre Festival's Artistic Director, Jenny Gersten; comedian and playwright, Lewis Black; former WTF Artistic Director and Director of this year's production of She Stoops to Conquer, Nicholas Martin; One Slight Hitch director Joe Grifasi; actors Steven Weber, Lili Taylor, Josh Hamilton, Justin Long, Sam Gold, Brooks Ashmanskas, Maura Tierney, and Kristine Nielsen. The Tablers will learn about WTF's productions of Jon Robin Baitz's Three Hotels... readme.readmedia.com/WAMCs-the-Roundtable-Broadcasts-Live-from-Williamstown-Theatre-Festival/2830405
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Post by juniormauraTfan on Jul 15, 2011 23:13:34 GMT 10
They just tweeted: Sorry everyone, Maura Tierney won't be with us on today's broadcast @wtfest sorry for making u curious..
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Post by Martine on Jul 16, 2011 0:41:09 GMT 10
I have a question; is there somebody who can help me? I really would like to have the radio interview from our girl on a cd, so i can listen anywere, anytime, anyplace?? I've tried to get it on cd, but it didn't work... Please, somebody? I have another idea maybe. Do you have Skype? If so I can send it to you over there. I might also be able to put it on CD, and maybe add the other radio interviews I have of her, and then I could send it to your address ?
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mauke
Marquise of Luby
Posts: 296
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Post by mauke on Jul 16, 2011 5:13:18 GMT 10
I have a question; is there somebody who can help me? I really would like to have the radio interview from our girl on a cd, so i can listen anywere, anytime, anyplace?? I've tried to get it on cd, but it didn't work... Please, somebody? I have another idea maybe. Do you have Skype? If so I can send it to you over there. I might also be able to put it on CD, and maybe add the other radio interviews I have of her, and then I could send it to your address ? Yes!!! Please!! I'll send you a PM!! Thanks, Martine!!!!
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