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Death by subtext
by Mark Steyn
On Chicago, Present Laughter & The Rehearsal
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Here’s a postscript to last month’s review of Chicago—or anyway something that’s been bothering me. In Bob Fosse’s justice-as-vaudeville, everyone’s a sleazy, chiselin’ lowlife: Roxie, the merry murderess; Velma, her cellmate; Billy Flynn, their shameless attorney; the prison matron … The one exception, the only nice guy in sight, is Roxie’s innocent dupe of a husband, Amos —or, as Flynn absentmindedly keeps calling him, “Andy.” Amos has only one song, a pastiche of Bert Williams’s “Nobody” called “Mister Cellophane”:
At the end, when Amos asks for his exit music, the conductor doesn’t hear, and so he trudges off unacco ...
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This article originally appeared in The New Criterion, Volume 15 January 1997, on page 36
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by Kyle Smith
On Ghosts at the Brooklyn Academy of Music, Clinton the Musical at New World Stages, Wolf Hall Parts One and Two at the Winter Garden Theatre.
by Kyle Smith
On The Audience at the Gerald Schoenfeld Theatre, Skylight at the John Golden Theatre, & The Heidi Chronicles at the Music Box Theatre.
On Churchill at New York’s New World Stages; An Octoroon at Theatre for a New Audience & The Events at New York Theatre Workshop.
The Walter Duranty Prize for Journalistic Mendacity
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