Terrence McNally was awarded the Dramatists Guild Lifetime Achievement Award in 2011. He could be the winner of Tony Awards for his plays LOVE! VALOUR! COMPASSION! and MASTER CLASS and his books with the musicals RAGTIME and KISS IN THE SPIDERWOMAN. This year 2010 the John F. Kennedy Center to the Performing Arts presented TERRENCE McNALLY’S NIGHTS WITH THE OPERA, a three-play festival of his work. His other plays include FRANKIE AND JOHNNY INSIDE THE CLAIR DE LUNE; LIPS TOGETHER, TEETH APART; CORPUS CHRISTI; AN IDEAL GANESH; THE RITZ; IT’S JUST A PLAY; SOME MEN; GOLDEN AGE; DEUCE; THE LISBON TRAVIATA; BAD HABITS; THE STENDHAL SYNDOME; DEDICATION OR THE STUFF OF DREAMS; NEXT; UNUSUAL ACTS OF DEVOTION; SWEET EROS; WITNESS; WHERE HAS TOMMY FLOWERS GONE? AND ITEMS THAT GO BUMP IN THE NIGHT TIME. He’s got written the books for your musicals THE ENTIRE MONTY, A GUY OF NO IMPORTANCE, THE VISIT as well as the RINK. He won an Emmy Award for Best Drama along with his teleplay ANDRE’S MOTHER. He wrote the screenplays for FRANKIE AND JOHNNY, LOVE! VALOUR! COMPASSION! along with the RITZ. He wrote the libretto for any opera DEAD MAN WALKING with music by Jake Heggie. Among his many awards certainly are a Citation from your American Academy of Arts and Letters, the brand new York Drama Critics Circle Award for Best New Play, four Drama Desk Awards, three Hull-Warriner Best Play Awards from your Dramatists Guild, two Obies, two Lortel Awards and two Guggenheim Fellowships. Mr. McNally is a person in the Dramatists Guild since 1965 and served as its Vice-President from 1985 to 2001. He lives in Manhattan along with his spouse, Tom Kirdahy.
Janine Weisman, NewportRI: Shoutouts head to Staudenmauer and his Act II love interest Countess Lily (Tari Kelly) who give this show some badly needed comic relief with a great song and dance number where they rekindle a past forbidden romance. Kelly is really a bold triple threat here with her performance of “Land of Yesterday” in a Russian ex-pat nightclub in Paris. Andria Tieman BroadwayWorld: The costumes in the production, created by Linda Cho, are worth all of the praise on the planet. Going from Pre-revolution Russia, for the U.S.S.R., to Paris, the costumes set each scene perfectly set up and time. The somewhat minimal (for your Broadway musical) sets are enhanced with screens that take the audience quickly from palace to street scene, to teach trip. While Aaron Rhyne’s projections are usually quite effective, they’re so heavily used which it almost appears like they just couldn’t be bothered to create enough sets because of this production.
Sure it’s predicated on a movie, but can’t we’ve some physical sets and effects with the stage version? Diana Wray, Houstonia: Somehow following that we lurch to some happy ending, of sorts, nonetheless it gets the feel of fan fiction, and by the end of your day, that’s what this whole thing is. Which isn’t to state which i didn’t benefit from the experience, strangely enough. It’s fascinating to start to see the world of musical theater undertake this type of complicated subject, attempting to wrench a happy ending away from this type of tragic story. Plus, “Journey to days gone by” is this type of good song. In the event that you use with really relaxed expectations, as well as perhaps a little understanding of Russian history, you will not entirely mind how often this thing doesn’t quite work. D. L. Groover, Houston Press: Anastasia is heavily padded with doubly many songs because the cartoon, which drags down the pace and adds nothing to the musical characterization in the show itself. The first songs, occur pre-Revolutionary Russia don’t sound particularly Russian, plus the ’20s Parisian ensembles aren’t very French.