Musicals

Choreographer Eliot Feld. He founded the Feld Ballet in 1974 as a place where classical ballet and modern dance could exist together. The company is still going strong, touring throughout America and overseas. Feld has also created ballets for many of the world's great companies, among them the American Ballet Theatre, the National Ballet of Canada, and the New York City Ballet.

Songwriters Hugh Martin and Ralph Blane. They wrote the songs for the 1944 Judy Garland film classic, "Meet Me in St. Louis," including "The Trolley Song" and "Have Yourself a Merry Little Christmas." A musical based on the film is opening on Broadway this week.

Film critic Stephen Schiff reviews the new movie, "The Fabulous Baker Boys," starring Jeff and Beau Bridges and Michelle Pfeiffer.

Classical music critic Lloyd Schwartz has a review of a never-before-recorded Kurt Weill (Vile) opera. Weill is best-known for his collaborations with playwright Bertolt Brecht, such as "The Threepenny Opera" and "The Rise and Fall of the City of Mahogany".

Classical music critic Lloyd Schwartz reviews a new release of Mozart's comic opera, "The Abduction from the Seraglio." It's a 1961 performance of a little known German comedy by Mozart, but Lloyd says it compares favorably with his best known Italian works.

Actor AVERY BROOKS. He reached stardom with his TV portrayal of "Hawk," the strong, almost silent partner in the detective series "Spenser for Hire." He took that character into its own series last season. Brooks brings to his TV work the same concern for African-American culture that has marked his stage career and his life. He won acclaim for his reinterpretation of the Harriet Beecher-Stowe character "Uncle Tom" in a production on the Showtime cable channel, and for his stage portrayal of Paul Robeson.

Pennebaker, who died Aug. 1, pioneered a cinéma vérité style of filmmaking in documentaries like Bob Dylan: Don't Look Back and The War Room. Originally broadcast in 1989.

Filmmaker D.A. Pennebaker. One of America's foremost documentary producers, Pennebaker has brought his cinéma verité approach to subjects ranging from Castro's Cuba, to Jimmy Carter's energy policy, to Bob Dylan's first tour of Britain. Music has been the source of much of Pennebaker's work. His films have featured the likes of Pablo Cassals, Van Cliburn, jazz singer Dave Lambert, rocker David Bowie, John Lennon and Yoko Ono.

Linguist Geoff Nunberg reflects on the use of racist terminology in the musical Show Boat. He says that later revisions were still problematic: they illustrated the enduring assumption that white liberals can accurately and authentically portray African American culture.

Classical music critic Lloyd Schwartz reviews a new Smithsonian box set of American musicals from throughout the twentieth century. His only complaint is that, with such a wealth of archival material, he wonders why more serious and contemporary music was included.

Critic Ken Tucker reviews the home video release of The Great Ziegfeld, a biopic about the famed impresario. The film won the Academy Award for Best Picture, an honor Tucker says was undeserved. Yet the film is fun, despite some slow moments, and paints a clear picture of a bygone era of of Hollywood.

The 1960 broadcast of the musical, starring Mary Martin in the titular role, returns to television. TV critic David Bianculli says, watching it again, he clapped right along with his two young children.

Harnick collaborated with composer Jerry Bock on hit musicals like Fiorello! and Fiddler on the Roof. One of their earlier works, She Loves Me, has found newfound success; the original cast album has just been reissued on CD.

Jazz critic Kevin Whitehead says the movie star had a range of about six notes, but he had personality and a swinging house band. Yet Astaire deserves praise for making famous several songs which later became standards.

Film critic Stephen Schifff says that the Irish rock band's new concert film, Rattle & Hum, exaggerates U2's abilities, importance, and depth. The movie follows them during a U.S. tour; in between performances, the band visits landmarks of American music, and share their superficial insights into their significance.

Classical music critic Lloyd Schwartz reviews an all-star recording of Stravinsky's jazz-inspired theater piece, which features Sting, Ian McKellen, and Vanessa Redgrave.

Tom Waits' music is changing, incorporating new styles like tango and Tin Pan Alley. He has a new performance film called Big Time, which features Waits singing different personas, and an album of the same name.

Classical music critic Lloyd Schwartz never saw She Loves Me on Broadway, but recently discovered the reissued original cast recording. He says the musical has the feel of classic operetta, and succeeds at everything it sets out to do.

A revival of Ain't Misbehavin', featuring the original cast, is now playing on Broadway. Critic-at-large Laurie Stone says she jumped at the chance to see it. Overacting and exaggerated choreography plagued the first act, but the cast showed restraint during the last half.

Classical musical critic Lloyd Schwartz says the new CD, The Bernstein Songbook, avoids the composer's orchestral flops, instead featuring excerpts from his exuberant operas and musicals.