Movie: Oh, for a Man!

Top 10 Billed Cast

Jeanette MacDonald
Jeanette MacDonald

Carlotta Manson

Reginald Denny
Reginald Denny

Barney McGann

Marjorie White
Marjorie White

Totsy Franklin

Warren Hymer
Warren Hymer

'Pug' Morini

Alison Skipworth
Alison Skipworth

Laura

Albert Conti
Albert Conti

Peck

Bela Lugosi
Bela Lugosi

Frescatti

André Cheron
André Cheron

Costello

Gino Corrado
Gino Corrado

Signor Ferrari, Italian Master of Ceremonies

William B. Davidson
William B. Davidson

Kerry Stokes

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Recommendations Movies

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Hello
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Hello(hi)

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Call-center workers receive a phone call from God.

Star Trek Into Darkness
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Star Trek Into Darkness(en)

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Barbie Fairytopia: Magic of the Rainbow(en)

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Ace Ventura: When Nature Calls(en)

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Back to the Future Part III(en)

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Anchorman 2: The Legend Continues
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Garfield: A Tail of Two Kitties(en)

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Jumanji: Welcome to the Jungle
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Jumanji: Welcome to the Jungle(en)

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How to Build a Better Boy
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How to Build a Better Boy(en)

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High School Musical 2(en)

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The Descent: Part 2
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The Descent: Part 2(en)

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The Chronicles of Narnia: Prince Caspian
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The Chronicles of Narnia: Prince Caspian(en)

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Saw III(en)

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L'Orfeo, Favola in musica(en)

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First seen at La Monnaie in Brussels on 13 May 1998, this production of Monteverdi’s L’ORFEO seen through the eyes of Trisha Brown and René Jacobs has become an operatic classic in a few short years. This is doubtless because it offers a total symbiosis of music, text and movement – described by the critic of the Daily Telegraph of London as being ‘as close to the perfect dance opera as I have ever seen’. Or to quote Gilles Macassar in Télérama: ‘In the pit and onstage, the Brussels production has only one watchword: mobility, nimbleness, dexterity. The singers run, fly, whirl like dancers defying gravity. From the flies down to the footlights, the whole theatre is under a fantastic spell.’ For Christophe Vetter, on ConcertoNet: ‘This Orfeo can be seen again and again with immense pleasure. . . . René Jacobs’s conducting continues to arouse admiration for its precision, its stylistic rigour, its inexhaustible inventiveness and its feeling for the contrasts so vital to this repertoire.’

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Werther(fr)

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Don Carlo(en)

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Gluck: Orfeo ed Euridice(fr)

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