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[[2 pages]]
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a theatregoer's
notebook          by Harry Haun
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[[image divides the columns in the upper-middle: photograph of a man in a wqhite suit and hat with his left leg held up, bent at the knee and his right hand up at the brim of his hat in a dance pose]]
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From Jerry to Fosse Prominent among that generation of hoofers who got to Broadway by crossing A Chorus Line is SCOOT WISE, who went on to wear the right moves of Peter Martins (Song &Dance), Gillian Lynne (Cats), Rob Marshall (Victor/Victoria), Randy Skinner (State Fair) and Debbie Allen (Carrie), but that Michael Bennett hit was the Line of demarcation separating hm from the works of old-guard great choreographers. When two of these got Broadway-recycled, Wise was aboard, winning a Tony Award for Jerome Robbins' Broadway in 1989 and all manner of praise now for Fasse.

At 40, he looms in the latter like a bona-fide Star - if not, in the words of AP's Micheal Kuchwara,"probably the best song-and-dance man on Broadway." Wise is quick to sing hosannas for the director-choreographer hyphenates who got him here:"Micheal [[/column 1]]
[[column 2]] and Jerry and Bob were like acting teachers. They realized dancers don't usually get the opportunity to act, so they would reply bring that out in you. You had to bring something to the table. They insisted on it; with hem gone, that's lost art."

Consequently and quietly), Wise is becoming a choreographer by day while per-forming Fosse by night and expects to have for presentation next year an alliance show that "proves dance can advance the plot just like song and script." Still, he's gotta dance:"They always say you have to quit dancing to become a choreographer. I can't imaging stopping."

Wise has a 15-year-old daughter from a previous marriage -Savannah- and will be dancing down the aisle again June 28 with Fosse's Elizabeth Parkinson. They don't dance together the show. "We pass by once at the beginning, and that's the last we see of each other all evening."

JOHN MARCUS [[/column 2]]
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[[image: color head shot of FINBAR LYNCH, image taken by JOAN MARCUS]]
From Fairy to Canary Three
springs ago when FINBAR LYNCH finally reached Broadway from London as Puck, the mischievous fairy in the RSC's A Midsummer Night's Dream, he was billed by his nickname "Barry" Lynch. Now he's back, under his true name, playing "Canary Jim" Allison , a prison trustee and (wrongly) suspected stole in Tennessee William's Not About Nightingales, The extreme contrast inn those portrayals - the androgynous sprite in bright yellow jump suit vs. the sensitive inmate in the grim-gray pen (itentiary) stripes - is why they call him versatile, too. "Finbar's and Irish name that means 'fair-heads,' which doesn't really apply to me, but he's also the patron saint of Cork, where my parents where from." As befits a man named Finbar, he has a wife named [[/column 1]]
[[column 2]]Niamh and a son named Callum.

Back in Britain, between Broadway gigs, he did Edmund to Ian Holm's King Lear, Enobarbus to Alan Rickman and Helen Mirren's Antony and Cleopatra and Eddie in Fool for Love - plus a TV series ("Scold's Bridle") and TV film bound for the U.S. (Riddler's Moon)

Nightingales, though factually based, resemble those Big House melodramas Warner Bros. was grinding out at that time(1938). The only sign of the poet who'd emerge as Williams resides in Lynch's performance. "Tennessee was in love with Keat's poetry when he wrote this play, so it's interesting Canary Jim is reading Keats bu I frustrated that Keats writes about nightingales and not more pressing issues.

"Also, my character is struggling against forces over which he has no control but which he ultimately must confront. Tom and Blanche and other Tennessee people were that way." [[/column 2]]
74   WWW.PLAYBILL.COM [[image: arrow]] PURE THEATRE ONLINE
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