Coletrane) Best, Pittsburgh Steeler Terry Bradshaw (utterly convincing as a man who gets hit in the face), and the impeccable Adam (Batman) West, who plays an actor respected enough that a film crew protectively prevents him from jumping over the side of a building. Central to the success of this story are the providential appearances of such childhood icons as James (Rosco P. As the winsome, perky daughter of stunt-osaurus Jocko Doyle (Brian Keith), Field set the standard by which all future stuntman's daughter roles would be be measured. Kneepad-deep in beer cans, forced to wear short shorts, physically lifted and repositioned like an arc light or rubber tree, she personifies the objectification of women by the stuntmen who are themselves objectified by the studio hacks (Robert Klein) who employ them. Field embodies the universal theme of a woman struggling to come to terms with a life she has neither chosen nor can escape. Sally (The Flying Nun) Field (who by some incredible chance happened to be dating Reynolds) plays the groundbreaking role of Hooper's common-law girlfriend, Gwen Doyle (a name so lilting and memorable, I promptly bestowed it upon all six of my goldfish). Playing the part with the gusto and verve of a man four-fifths his age, Reynolds achieves newfound heights without seeming to crack a script, winking slyly at the merry romp he has conjured. Screen legend Burt Reynolds offers one of his most insightful, well-rounded performances as Sonny Hooper, an Achilles with a mustache, seemingly foredoomed to the stuntman slag heap by the onset of middle age. When I emerged a scant two hours later, I was no longer a callow youth. Disgruntled at my forebears' refusal to consent to a screening of Jaws 2, I nonetheless acquiesced and slumped into the screening room. 18 visit parents ushered the young me into an 8-plex one fine afternoon prophesying an epic - a cinematic triumph unparalleled since the days of Bergman. “Black Nativity” will be at the Crossroads Theatre in New Brunswick through Dec. Still, at Crossroads, its moments of transporting ecstasy gives it something that other holiday entertainment offerings throughout the state simply don’t have. But as critic Howard Taubman noted in his 1961 New York Times review, this “song-play” has “a lot of song but hardly any play.” And one actor’s microphone headset was not functioning correctly throughout the show.Īs one of the first plays by an African-American to be presented on Broadway, “Black Nativity” is historically important. Vocals on the opening rap number, “State of the Union,” were impossible to understand, since the music drowned them out. There were some sound problems the night I attended. The set design, by Patrice Davidson, was colorful but simple, giving the production a rough-hewn, homemade feel. Narrator Kenton Rogers provided the evening’s most stirring musical moment when he sang “You Raise Me Up,” though Terry, credited as the show’s “Featured Artist” in the program, was also very good throughout the evening, on “I Love the Lord” and other numbers. R&B star Tony Terry appears in “Black Nativity.”
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