Arthur Miller himself adapted his Pultizer Prize-winning modern tragedy for this 1966 television production, with Lee J. Cobb and Mildred Dunnock reprising their original Broadway roles as the Lomans. This classic production toys with time in its shattering telling of a middle-aged man at the end of his emotional rope.
Category: Theatre
Bernhard’s last play Heldenplatz, viewed as an attack on Austria, caused a media sensation in Vienna in 1989 and brought widespread reactions of outrage that ranged from the man in the street to the highest government officials. Such criticism totally misconstrued the nature and purpose of the play, which in form, style, and content fits directly into the normal sequence of his plays. Using his standard technique of exaggeration and employing his outstanding linguistic talent, Bernhard contributes to the theme of Vergangenheitsbewältigung on the occasion of the fiftieth anniversary of the Anschluβ. A sickly character, Robert Schuster, representing a fatally ill Bern-hard, makes a last effort to confront the deficiencies of the land Bernhard loved, not hated, as is commonly assumed.
An aging salesman is fired from his job after a long career in it. Broken, without much to look forward to, he tries reconnecting with his wife and kids who he had always put down as he dedicated himself to work.
Based upon the Tony Award winning play, “Morning’s at Seven” is the funny, deeply poignant story of the four aging Gibbs sisters and their quirky families in a small Midwestern town in the 1920s.
Dramatizing a compacted group of memories passing over several years, Arthur Miller’s vivid comedy-drama portrays the nature of life during America’s great Depression.
On the Fourth of July holiday in 1906, the Miller family prepares to celebrate in their New England home. Young Richard, 16, is a thoughtful and poetic youth in love with a neighbor girl, Muriel. When Richard’s messages of poetry to Muriel upset her prudish father, Muriel is forbidden to see him and forced to write a letter saying she wishes no more to do with him. Richard, devastated, sets out to learn the evil ways of the world and put his broken heart behind him.
The past and present co-exist in Maxwell Anderson’s 1930’s play when a disappointed inventor unleashes his latest gadget – a “star wagon” – that will return its driver to any desired point in time.
William Saroyan’s Pulitzer Prize-winning play revolves around the denizens of a San Francisco bar in 1939. Lonely, lovelorn, weary or cynical, the characters drift in and out of the bar and each other’s lives, giving voice to Saroyan’s philosophies as they randomly comment about the impending world war, the beauty of art, and traditional notions of good and evil. At least one of the relationships stands a chance of enduring: a brawny innocent named Tom is falling in love with a vulnerable young prostitute named Kitty. Saroyan himself is heard reciting the play’s prologue.