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Topic: Speaking of Time magazine...

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AuthorTopic:   Speaking of Time magazine...
FAQ Maintainer


posted: 7/27/2001 at 8:12:46 PM ET
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Hi everyone!

Well, I got bored the other day (lol) and so I went to Time Magazine's website... and I searched for "Bernadette Peters"....and I found that in the Time Magazine Archives, that there's a magazine w/ her I assume on the cover...cuz it said: "What comes natur'lly --Bernadette Peters returns to the stage to give Annie Get Your Gun a sparkling makeover." --This edition was in 3/15/99
If you want the link to what I'm talking about go here:

*Note, u can't read the articles...u'd have to buy them...the price list is on the right side.*

If they have Time Magazine @ u'r local library maybe they'd have it over there? I'm gonna go check 2morrow to see if my library has that because they have lots of magazines there.


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posted: 7/27/2001 at 11:27:23 PM ET
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I thought maybe she was on the cover (wishful thinking).,9263,1101990315,00.html shows the cover and articles. I wonder if I could get it off eBay... You can order back issues by calling (800) 843-8463, but they don't say anything about price.

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posted: 7/28/2001 at 10:41:51 PM ET
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Hi again! Ok, so I found it at the library (hehe I'm such a nerd lol) and I got the I read it, and it's just a short review type of thing for Annie Get Your Gun....and I typed it out (copied and pasted) for you all if you haven't read here:

Time Magazine- 3/15/99
What Comes Natur’lly
Bernadette Peters returns to the stage to give Annie Get Your Gun a sparkling makeover

Even thought she started in show business at the age of 3½ (as pint-size contestant of a TV game show called Juvenile Jury) and grew up to be the pre-eminent
musical-theater star of our day, Bernadette Peters had never seen Annie Get Your Gun. So when she was offered the starring role in a revival of Irving Berlin’s 1946 classic, she was not interested in nostalgia. “I don’t think a show should be a walk down memory lane–that’s why I’ve avoided revivals,” she says. “I believe a show should happen in front of you for the first time.”
The musical about sharpshooter Annie Oakley and her love affair with Frank Butler as they toured in Buffalo Bill’s Wild West Show has a long illustrious memory lane, dominated by the legendary Ethel Merman. But the production that opened on Broadway
last week–with Peters returning to the stage for the first time since The Goodbye Girl in 1993–takes on a new bead on the familiar old target and hits the bull’s-eye with ease.
Annie Get Your Gun has never had the emotional durability of the Rodgers and Hammerstein classics, or the cachet for sophisticates of the early Gershwin or Porter musicals. What’s more, the show today sets off political-correctness alarms with its
stereotypical portrayal of Indians. But the book has been updated by Peter Stone (Titanic) in ways that pass p.c. must without losing all the fun. A song has been dropped
(I’m an Indian Too); an interracial love story has been added; and the Native Americans in Buffalo Bill’s show are now quite obviously playing along with the gag. (“How,” says Chief Sitting Bull, by a way of greeting, “... is business?”) In a musical that proclaims, “There’s no people like show people,” why not?
Director and co-choreographer Graciela Daniele (Ragtime) creates a pretty pastel production and fills the stage with inventive, witty movement. The members of the Wild West troupe are onstage most of the time, either dancing up a storm or providing rhythmic
accompaniment to the action by slapping thighs or snapping scarves. When Frank (the fine Tom Wopat) sings My Defenses Are Down, he clings to the leg of one member of a male chorus line as they drag him across the stage–then he turns and drags them.
But the most revivifying part of the show is Peters, who gives the brassy Merman role an adorable new twist. At the start she lays on the backwoods accent so thick you have to laugh, yet when she pines and puts for Frank, she gives the character a funny,
foot-stamping girlishness. there are some miscalculations. The device of framing the story as a show within a show–introduced by Buffalo Bill–gains nothing, and opening with the big number There’s No Business Like Show Business is a needless appetizer. It’s not as if Berlin’s matchless songs–Doin’ What Come Natur’lly, Lost in His Arms, on and on–don’t start pouring forth soon enough. Or that Peters, in wonderful voice, doesn’t treat each one like fresh-backed goods and make Annie Get Your Gun a brand-new delight. -By Richard Zoglin

Hope u n'joyed it hehe


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