It operates as a refuge for a civilizing element in short supply in contemporary America: honest criticism
Death by subtext
by Mark Steyn
On Chicago, Present Laughter & The Rehearsal
was right!Support The
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 ...
This article is available to subscribers and for individual purchase
This article originally appeared in The New Criterion, Volume 15 January 1997, on page 36
Copyright © 2015 The New Criterion | www.newcriterion.comhttp://www.newcriterion.com/articles.cfm/Death-by-subtext-3408
E-mail to friend
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
Introduction to The Kennedy Phenomenon
The Kennedy Phenomenon: "Watching the Kennedy Train-Wreck"
by James Bowman
Jun 26, 2015 10:13 AM