HDTenEightyP/NetNews huggingface dataset:
From: kbos@carina.unm.edu (K. Mitchell Bose)
Newsgroups: rec.arts.theatre
Subject: Re: Answer to Into the Woods Trivia
Date: 21 Jan 1993 12:46:54 GMT
Organization: University of New Mexico, Albuquerque
NNTP-Posting-Host: carina.unm.edu

In article <1993Jan21.120040.10224@Virginia.EDU> qtm2w@Virginia.EDU ("Quinn T. McCord") writes:
>
>	Well, I guess there were no takers on my Into the Woods
>trivia question: WHEN does it take place?
>
>The answer: the 1700's.
>
>Proof:  The show cannot take place later, since it is
>obviously a pre-industrial revolution setting.  Also, the Grimm
>brothers assembled their fairy tales in the first decade of the
>19th century.

On the other hand, it's a well-known fact that the last Giant was killed in
1437, the victim of a freak moat accident.

Next up, Quinn uses Act II of Julius Caesar to date his assassination sometime
after the rise of Charlemagne...  

:)


-- 
Kurt Bose (as in Daisy, not Rose) * kbos@carina.unm.edu * Walks: not that sexy.
Me: "The relationship just didn't work.  She had this...Chaplinesque quality."
Lisa: "You mean, you didn't like her because she was always being funny?"
Me: "No. [pause] I didn't like her because she was a little tramp."
From: Ad Aerts <aerts@aasup.nl>
Newsgroups: rec.arts.theatre
Subject: Re: CHESS: What really happened on stage?
Date: Sun, 24 Jan 93 11:09:55 MET
Organization: AA Software Support

To all of you who would like to get an idea of what the original
production of 'Chess' was like: There is a very nice book with a lot of
pictures written bij William Hartston: 'Chess, the making of the
musical'.  Pavilion books, London, 1986.  ISBN 1-85145-006-8

No, I haven't seen Chess on stage. Wish I had.

Adrian.

--
Ad Aerts (aerts@aasup.nl) | Phone +31 23 366238 
Standing on head makes smile of frown, but rest of face also upside down.
Newsgroups: rec.arts.theatre
From: markb@cimage.com (Mark Bernstein)
Subject: Re: "Company" in concert
Organization: Cimage Corporation
Date: Tue, 26 Jan 93 20:28:55 GMT

Jon Conrad (conrad@brahms.udel.edu) wrote:
: Hey folks, this wasn't intended to be a duolog -- anybody can feel free
: to jump in!  Arne and I share an interest in this show, but I hope
: others are interested in the info too.
: 
Well, as long as you asked so nicely . . . :-)

I've only seen Company on stage once, in a local production that actually
was quite good.  Same for Follies.  I'm sure the originals were far 
superior, but sometimes when you live in Michigan you take what you can get.

My first exposure to Sondheim, which completely blew me away and hooked me
for life, was in 1972 or '73 (which means I was 16 or 17), when the Fisher
Theatre in Detroit brought in the first national touring company of A Little
Night Music.  While everyone did a fine job (Frederick has been on my list
of dream roles ever since), the only name in the cast I recognized, and can
recall now, was Margaret Hamilton as Madame Armfeldt.  She was, I'm sure,
utterly unlike Gingold, and wonderful in her own way.

: 
: At least back then, in any given summer, there would be a few tv
: ex-names that would let it be known to stock packagers that they were
: "willing" to appear in a show (i.e., not getting much other work).  And
: the packagers would try to figure out which names would still bring in
: the $$ from the summer crowd, and what vehicle would be right for them.

Oh, it's still quite common.  I've had season tickets to the Fisher for the 
past two years, and the "stars" I've seen have included Barry Williams (Greg
on "The Brady Bunch") as Stone in City of Angels (OK, but not great), John
Schneider ("Dukes of Hazzard") in Brigadoon (surprisingly good), Robert
Goulet as Arthur in Camelot (not as bad as I expected, but both act-ending
speeches fell flat), and a production of Annie with JoAnne Worley as Miss
Hannigan and John Schuck as Warbucks (both delightful).  This Saturday we're
seeing Breaking Legs with Harry Guardino (who just replaced the late
Vincent Gardenia), Karen Valentine("Room 222" and others), Gary Sandy 
("WKRP in Cincinnati") and Larry Storch ("F Troop").

On the other hand, the rest of the City of Angels cast was excellent, and
the tours of Grand Hotel, Lost in Yonkers, and The Piano Lesson were all
outstanding, the weaknesses of Grand Hotel's book notwithstanding.  Not to
mention seeing Robert Morse in Tru and the national tour of Phantom.

No word yet on who we'll be getting in The Secret Garden and The Will Rogers
Follies this spring.

Mark Bernstein
markb@cimage.com

-- 
Mark Bernstein
markb@cimage.com
From: RJONES@cornell-iowa.edu (Rick Jones)
Newsgroups: rec.arts.theatre
Subject: RE: Answer to Into the Woods Trivia
Date: 22 Jan 1993 10:50:00 -0600
Organization: UTexas Mail-to-News Gateway
NNTP-Posting-Host: cs.utexas.edu

If we MUST continue this "Into the Woods" date nonsense, at least
let's get the facts straight.

1).  It is BOTH "five pounds" AND "five gold pieces".  The former is
what Jack's mother tells him to take as minimum payment for Milky
White; the latter is what Jack steals from the Giant and gives the
Baker as down-payment on getting Milky White back.

2)  Where in the text (as opposed to some particular production) is
there anything about trousers instead of breeches?  I've watched the
show every night for a week now... I think I'd remember (but make no
claims to thoroughness -- I wasn't exactly contemplating this
particular point, if you know what I mean...)

Rick
Newsgroups: rec.arts.theatre
From: b259phl@utarlg.uta.edu (PHILIP LIPPEL)
Subject: Re: I wish I had seen...
News-Software: VAX/VMS VNEWS 1.41    
Organization: The University of Texas at Arlington
Distribution: rec
Date: Thu, 21 Jan 1993 19:07:00 GMT

In article <MURRAY.93Jan20205858@aristotle.ils.nwu.edu>, murray@aristotle.ils.nwu.edu (Thomas Murray) writes...
>This should snag a couple of you...
> 
> 
>I wish I had seen...
> 
>The original 1927 SHOW BOAT - It must have been a beatiful production.
> 
>The original 1943 OKLAHOMA! - Why?  Would have loved to see Alfred
>Drake, and to experience the thrill of seeing Agnes DeMille's
>choreography, and what a role dance could play in the theatre.
> 
>The original production of THE KING AND I - To see Gertrude Lawrence
>in her final production, and Yule Brynner before he really owned the
>role.
> 
>The original OUR TOWN - to experience the revolutionariness of the
>play, and hear the beauty of the text being delivered for the very
>first time.  
> 
>The last doesn't really count, but I would love to have seen all the
>original productions of Sondheim's shows.  Why?  To see the people who
>created those roles, and how powerful they must have been that we all
>imitate them.
> 
Zero Mostel in Fiddler.
Barbara Cook in She Loves Me.
Newsgroups: rec.arts.theatre
From: gal@crchh503.bnr.ca (Gene Lavergne)
Subject: Re: I wish I had seen...
Date: Thu, 21 Jan 1993 20:13:01 GMT
Reply-To: gal@crchh503.bnr.ca (Gene Lavergne)
Organization: Bell Northern Research

I wish I had seen (live or on TV):

 - Bernstein's "Mass" either in the original or the 10th anniversary 
   production.
 - Carlisle Floyd's "Willie Stark".

I'd love to get either of them on video.

Sigh,
Gene

--

| gal@bnr.ca (Gene A. Lavergne) | In all of opera, I most identify |
| ESN 444-4842 / (214) 684-4842 | with the character of Elektra.   |
| PO Box 851986, Richardson, TX | That often worries me.           |
| USA 75085-1986 | Opinions expressed here are mine and not BNR's. |

Newsgroups: rec.arts.theatre
From: goldfish@panix.com (Paul Goldsmith)
Subject: Re: CATS and theatre sound systems
Keywords: brodway theatre shows
Organization: Panix Public Access Internet & Unix, NYC
Distribution: usa
Date: Sun, 24 Jan 1993 22:36:17 GMT

In article <24680@alice.att.com> wookie@alice.att.com (Keith Bauer) writes:
>There are ways to cure these problems if indeed they are problems.  As
>theatre goers, are any of you annoyed by this or am I unique on this position?
>If there appears to be enough of an annoyance factor then I shall look into
>how the problem can be remedied, or rather if Broadway theatres (and others)
>are willing to do what is needed to correct the problem.

One of the major things that microphones bring is the ability to power
up sound levels into the seismic range.  Back in the days when the
voice was a limiting factor on the volume level, it was possible to
listen to shows without frying your ears.  Of late, most people suffer
major hearing loss and it is impossible to attend amplified
entertainment events (concerts, movies, etc ...) without hearing
protection.  I personally recommend the "E.A.R group Noise Filters" as
a way to hear what the (probably deaf) audience members on either side
of me do, (of course most 36 yr old males don't hear beyond 20kHz like I
do)

Amplification in theatre is like catsup on cooking; fine for french
fries, but not for everything.  As to loss of directionality,
reasonable amplification as a "helper" can still give good
directionality with appropriate line delays, and competent sound
people.  As a replacement for the voice itself; well, is that really
live theatre?

(flame bait not intended; Please disagree with me; just do it without
amplification :-)
From: chu@acsu.buffalo.edu (John C. Chu)
Newsgroups: rec.arts.theatre
Subject: Re: "Company" in concert
Date: 26 Jan 93 14:10:23 GMT
Organization: UB

In article <EfN__hu00iUx0_SPQy@andrew.cmu.edu> tt27+@andrew.cmu.edu (Todd Nicholas Tarantino) writes:
>there is an amazing video around called "original cast
>recording:company" that captivated me. all the hell and the beauty that
>went on in the session is there. my favorite moment being the eight
>takes elaine strich had to go through for "the ladies who lunch"

Oh yeah, one more thing. I've only seen the video once, but I'm sure
it was *much* more than 8 takes. I think it was more in the 40+ range.
Eight wouldn't have been bad. I think You Could Drive a Person Crazy
had 10. Seeing them trying to record Ladies Who Lunch was definitely
for me the most captivating part of the video.

					john
				chu@acsu.buffalo.edu
From: norbeck@pleiades.cs.bucknell.edu (Naughty Nukes NY in her 1999 Nissan)
Newsgroups: rec.arts.theatre
Subject: CHESS: What really happened on stage?
Date: 21 Jan 1993 22:37:48 GMT
Organization: Bucknell University, Lewisburg, PA
Distribution: world
NNTP-Posting-Host: pleiades.cs.bucknell.edu



A few months (or maybe even longer) ago someone who had seen CHESS
posted a description of what it was like on stage, with how the
stage was set, and what sorts of other visual actions and effects took
place.  If that person is still out there and could send me a copy of
that info, I'd really appreciate it!  I just recently played the
concept album to a friend of mine who has completely fallen in love
with it and wants to know more about it, but I can't remember much of
what I read in that post.  I'd love to be able to show it to her.

I don't get a chance to read news often anymore, so email wuld
be appreciated.

Thanks!

Nancy
--
|.."I've heard snappier comebacks from a bowl of Rice..|....Nancy Norbeck.....|
|......Krispies."  Charles Emerson Winchester III......|.norbeck@bucknell.edu.|
Newsgroups: rec.arts.theatre
From: larry@bradley.bradley.edu (L. D. Stratton)
Subject: Re: Falsettos
Organization: Bradley University
Date: Thu, 28 Jan 93 00:23:46 GMT

>>>don't give a good explaination of what's going on and it's taking
>>   I found "In Trousers" on LP, not on disk.  It wasn't easy to find.     
>>   As far as plot, you'd better study the lyrics, the whole show is 
>>   sung and, from the play form, very little is omitted.  It isn't all
>>   that hard to understand.
>It's thrown me for a loop.

    OK, fast synopsis.  Marvin and Trina are married. They have a son,
    Jason.   Marvin meets Whizzer (another guy).  They fall in love.
    Marvin and Trina divorce.  Marvin and Whizzer separate.  Trina 
    marries Mendel.  It's time for Jason's Bar Mitzvah (they are Jewish).
    Marvin and Trina fight.  Whizzer shows up.  Marvin and Whizzer fall
    in love again.  Dr. Charlotte and Cordelia, the lesbians who live
    next door, become friends of everyone.  Whizzer has AIDS.  Whizzer
    is dying.  Whizzer can't be at the Bar Mitzvah.  Jason, who at first
    was really bothered by his father's orientation, likes Whizzer enough
    to suggest having the Bar Mitzvah at the hospital so Whizzer can 
    be a part of it.   They do.   The impression is that Whizzer dies
    at the very end, or, at least, you expect that he will.  Marvin
    sings great love song "What Would I Do?" to Whizzer.  Fini.

    Need more?
From: khc@qing.Corp.Sun.COM (Kelly Chang)
Newsgroups: rec.arts.theatre
Subject: Sarah Brightman
Date: 28 Jan 1993 00:11:06 GMT
Organization: Sun Microsystems, Inc.
Distribution: world
Reply-To: khc@qing.Corp.Sun.COM
NNTP-Posting-Host: qing.corp.sun.com

Hi,

Anyone knows the whereabouts of Sarah Brightman ? Is she
currently singing in London or North America ?

Thanks.

- kelly
From: chu@acsu.buffalo.edu (John C. Chu)
Newsgroups: rec.arts.theatre
Subject: Re: "Company" in concert
Date: 26 Jan 93 14:07:38 GMT
Organization: UB

In article <EfN__hu00iUx0_SPQy@andrew.cmu.edu> tt27+@andrew.cmu.edu (Todd Nicholas Tarantino) writes:
>sondheim at one point having her take it down a half-step. eventually
>they end for the day, there's only so long strich can go on like this,

This was, of course, at 3am or 4am, when the rest of the cast has long
left and Ladies Who Lunch is the only thing left to record.

>and she comes back another day and does what is on the album.

Todd didn't quite make this clear. She came back another day, but the
pit didn't. They laid down the orchestral tracks that night (in the
original key, I believe) and dubbed her in on another day.

What kind of gets me when watching the video is seeing that they on
the first take of You Could Drive a Person Crazy used the real ending,
and realizing that by the time they got to the final take, they must
have specifically decided to cook up ending that's now on the cast
album. Oh well, at least it's done right on the "Scrabble cover"
Sondheim tribute album.

					john
				chu@acsu.buffalo.edu
From: ijgordon@eniac.seas.upenn.edu (<*Ian J Gordon*>)
Newsgroups: rec.arts.theatre
Subject: JCS Recordings
Date: 24 Jan 93 03:51:15 GMT
Organization: University of Pennsylvania


In article <1993Jan23.140932.4970@Virginia.EDU> qtm2w@Virginia.EDU ("Quinn T. McCord") writes:
  
[stuff about tour deleted]
>
>	By the way, I just bought the 20th anniversary
>recording, and for the most part, it sucks donkeys.  It was
>painfully obvious that Keith Burns/Paul Nicholas have nowhere
>near the ranges that Murray Head/Ian Gillian or Carl
>Anderson/Ted Neeley have.  The only interesting arrangement is
>for Simon Zealotes.
>					-Quinn

Well, I have the 20th anniv. highlights and the original recording, and I think
the new one is better. It sounds like Murray Head can't decide where or how 
to sing the songs -- high or low, soft or scream. Although he has an amazing
voice (especially on CHESS) I prefer Keith Burns. I am more or less indifferent
about Ian and Paul. However, I think that Claire Moore kicks Yvonne Elliman's
tuchas. She is AMAZING. Curious as to what others think.

			-Ian

--
I J G's quote of the week: I'm tired of all the happy men who rule the world.
			   They grow, of that I'm sure.
			   They grow, but don't mature.
				-Trina in  FALSETTOS
Newsgroups: rec.arts.theatre
From: rdutt@mksol.dseg.ti.com (richard f. dutt)
Subject: Re: Answer to Into the Woods Trivia
Organization: Texas Instruments, Inc
Date: Thu, 21 Jan 1993 23:44:03 GMT

In article <1993Jan21.120040.10224@Virginia.EDU> qtm2w@Virginia.EDU ("Quinn T. McCord") writes:
>
>	Well, I guess there were no takers on my Into the Woods
>trivia question: WHEN does it take place?
>
>The answer: the 1700's.
>
>Proof:  The show cannot take place later, since it is
>obviously a pre-industrial revolution setting.  Also, the Grimm
>brothers assembled their fairy tales in the first decade of the
>19th century.
>	The first barrier to how early the show can take place
>is the presence of corn, a New World vegetable, making the time
>period the 1500's at the very earliest..  (In case
>you're wondering, saying it actually *takes place* in the New
>World, doesn't help because the prince is riding a horse,
>introduced by the Europeans.)  You also have to wonder why
>Europeans are referring to maize as corn, since the term corn
>was already used for other vegetables they already had
>available to them.  Oh, well.
>	But the clincher is this: Jack's mother lyric, "The
>slotted spoon *can* hold the potato" implies that the potato is
>an edible vegetable.  Until around 1700, the potato was
>believed to be poisonous (in fact, most of it is), thereby
>establishing the shows time setting.
>
>					-Quinn

Maybe they were afraid to touch the "poisoned" potatos so they used
spoon to pick them up and fling them away.  Jack's mother obviously
discovered that slottled spoons work as well as regular spoons for
flinging potatos.

Remember, she never said anything about eating the potatos.   :)

Now if we can just figure out what year wolves stopped walking
upright on their hind legs....     :)

Sorry, I'm sick and in an odd mood today.

-Rich

-- 

e-mail: rdutt@ms3.dseg.ti.com
        rdutt@mksol.dseg.ti.com
Newsgroups: rec.arts.theatre
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: Answer to Into the Woods Trivia
Organization: University of Delaware
Date: Fri, 22 Jan 1993 22:52:18 GMT

In article <1993Jan22.170748.11003@Virginia.EDU> qtm2w@Virginia.EDU ("Quinn T. McCord") writes:

>	Who cares what the original costume designer did?  The
>script doesn't call for "trousers, not breeches".  If the Grimm
>brothers don't matter, than the whims of the original costume
>designer shouldn't.

Of course not.  I was making a joke.  A small and, apparently,
impenetrable one.  My point being that the costume point was as valid as
any of the others (i.e., not).  "Once upon a time" is where it takes
place, just as we all knew in the first place.  Or, if one prefers, in
many times simultaneously -- the narrator is often (not always) costumed
as someone of our own time.

Jon Alan Conrad
Newsgroups: rec.arts.theatre
From: qtm2w@Virginia.EDU ("Quinn T. McCord")
Subject: Re: CHESS: What really happened on stage?
Organization: University of Virginia
Date: Wed, 27 Jan 1993 14:00:36 GMT


	I'm pretty sure the London Chess opened in 1986, not
1988, which was when it opened on Broadway.
						-Quinn
Newsgroups: rec.arts.theatre
From: sfue5@syma.sussex.ac.uk (Andrew Richards)
Subject: Recording of touring "Aspects"
Organization: University of Sussex
Date: Tue, 26 Jan 1993 13:49:56 GMT


Just a quick plea for help... Has anyone heard whether there is to be a
recording made of the version of "Aspects of Love" which is currently
touring the States? If so, when? 

And if not, WHY NOT!!!

Thanks!
Andrew

Newsgroups: rec.arts.theatre
From: sfue5@syma.sussex.ac.uk (Andrew Richards)
Subject: Re: Sarah Brightman
Organization: University of Sussex
Date: Thu, 28 Jan 1993 14:05:21 GMT

From article <1k81tcINN3ju@phakt.usc.edu>, by jameskau@phakt.usc.edu (James Kaufman):
> In article <1k78aqINN8ht@jethro.Corp.Sun.COM> khc@qing.Corp.Sun.COM writes:
>>Hi,
>>
>>Anyone knows the whereabouts of Sarah Brightman ? Is she
>>currently singing in London or North America ?
>>
>>Thanks.
>>
>>- kelly
>>
> 
> 
> Brightman will be starring in the Los Angeles production of
> Aspects of Love in a few months.
> I can definitely see her being a great Rose...
> 
> James Kaufman
> jameskau@scf.usc.edu
> 

I was lucky enough to see Sarah Brightman (twice) playing the part of
Rose in London, before "Aspects" closed over here. I also saw 2 other
actresses play the part. While they were all good, she stood out as the
best by quite a long way....

Andrew
 
Newsgroups: rec.arts.theatre
From: rdutt@mksol.dseg.ti.com (richard f. dutt)
Subject: Re: Falsettos
Organization: Texas Instruments, Inc
Date: Wed, 27 Jan 1993 22:42:31 GMT

In article <1993Jan27.142047.27711@bradley.bradley.edu> larry@bradley.bradley.edu (L. D. Stratton) writes:
>In <1993Jan26.224228.27375@mksol.dseg.ti.com> rdutt@mksol.dseg.ti.com (richard f. dutt) writes:
>
>>I just got the double disk recording of "March of the Falsettos" and
>>"Falsettoland" (for $10 none the less).  I was wondering if someone
>>could post or mail me a plot summary of the two shows.  The lyrics
>>don't give a good explaination of what's going on and it's taking
>>me some time to figure it out.  Also, is there a recording of
>>"In Trousers" out there?  I'd be interested in getting it.
>
>   I found "In Trousers" on LP, not on disk.  It wasn't easy to find.     
>
>   As far as plot, you'd better study the lyrics, the whole show is 
>   sung and, from the play form, very little is omitted.  It isn't all
>   that hard to understand.

It's thrown me for a loop.

-Rich

-- 

e-mail: rdutt@ms3.dseg.ti.com
        rdutt@mksol.dseg.ti.com
From: dlytle@OAVAX.CSUCHICO.EDU (Don Lytle)
Newsgroups: rec.arts.theatre
Subject: The Association for the Study of Play conference
Date: 21 Jan 93 19:59:17 GMT
Reply-To: dlytle@OAVAX.CSUCHICO.EDU
Organization: California State University, Chico
NNTP-Posting-Host: oavax.csuchico.edu


                         *****   ANNOUNCEMENT AND CALL FOR PAPERS   *****

                                     TASP 1993 - St. Paul, MN
                             The Association for the Study of Play
              April 22 - 24, 1993 * The St. Paul Hotel * St. Paul, Minnesota

     The Association For The Study of Play (TASP) will hold its 1993 annual meetings in St. Paul, Minnesota.  The conference will begin Thursday and continue until Saturday, April 24.  There will be featured speakers, playshops, and forums for the discussion and presentation of research papers on all aspects of play research, theory, performance and behavior.
     TASP conferences traditionally have provided a mechanism by which researchers in diverse fields have the opportunity to share ideas and interact in a friendly and collegial atmosphere.
     Papers and proposals for panel sessions or tutorials related to the broad study of play are invited.  Sessions include, but are not limited to:
 - Humor, laughter
 - Computer and cyperspace play
 - Folklore
 - Children's play behavior
 - Cross-cultural play
 - Body work and play art
 - Performance 
 - Anthropology of festive play
 - Sport
 - Literary playfulness

Deadline for submission of abstracts is February 5, 1993.

Send abstracts (100 word maximum), audio-visual needs, and registration fees  ($60 professional and $20 student made payable to TASP) to:

Dr. Don Lytle
Department of Physical Education
California State University, Chico  95929-0330. 
Bitnet/E-Mail: DLYTLE@OAVAX.CSUCHICO.EDU; FAX: 916 898-4932; 
Phone: {916} 898-6617 or 898-6373 {message}/894-5028 {evening}.
Newsgroups: rec.arts.theatre
From: ed@wente.llnl.gov (Ed Suranyi)
Newsgroups: rec.arts.theatre
Subject: Phantom of the Opera finally coming to S.F.
Date: 28 Jan 93 00:07:21 GMT
Distribution: na
Organization: UC Davis Dept of Applied Science at LLNL

Phantom of the Opera is finally coming to San Francisco this
December.  By the time it gets here it will already have played at
almost all other "major" cities in the USA.

The reason it will get here so late is that the producer, Cameron Mackintosh,
doesn't want it to open here until it closes in Los Angeles.  It has
now been decided that the Los Angeles company will close in August.
It will have been at the Ahmanson theatre in L.A. a few months longer than
four years.

Ed
ed@wente.llnl.gov
From: jcichock@ep.ieee.org (J Cichocki)
Newsgroups: rec.arts.theatre
Subject: Re: Kiss of the Spider Woman
Date: 22 Jan 93 15:17:23 GMT
Reply-To: jcichock@ep.ieee.org
Organization: IEEE, New York, NY

I walked passed the Broadhurst Theatre and the note on the door said something about
tix going on sale Mar. 20. I don't know if that is throuh telecharge or the box
office. I will go by again tonight and check it out. I'll post next week.

The big marque on top of the Broadhurst has a huge painting of (it looks like) Chita
Rivera with a spider-web-looking veil in front of her face.

That's it for now.

Jeff