Word: amsterdams
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Besides Cox, who was U.S. Solicitor General from 1961 to 1965, the commission's members were Dr. Dana L. Farnsworth, director of Harvard's University Health Services, two lawyers--Anthony G. Amsterdam and Simon H. Rifkind--and Hylan G. Lewis, professor of Sociology at Brooklyn College...
...Netherlands was about to let Painter Willem de Kooning forget it. Back in his homeland for the first time since he sailed to the U.S. as a deckhand in 1926, the 64-year-old abstract expressionist confessed, "I was afraid to come back, but I was wrong." Amsterdam's Stedelijk Museum was aglow with 90 De Kooning oils, and idolizing crowds trailed him everywhere. The only problem was that he had forgotten his mother tongue. After U.S. Ambassador William Tyler addressed the opening-night crowd at the Stedelijk in impeccable Dutch, De Kooning admitted: "I could not understand...
John Osborne, who initiated the modern English theatrical renaissance with Look Back in Anger, threatens to end it. His two new plays, Time Present and The Hotel in Amsterdam, are sad, sour, personal-and curiously oblique and lethargic. Osborne has never been much of a plot shaper, relying instead on arias of invective and hysteria. He is as much at the mercy of his voice as an operatic diva. This time his voice is overheard rather than heard. Instead of hurling anathemas, he bitches cattily. Instead of scalding, he scolds...
...Hotel in Amsterdam is more of the same, leavened with more humor. This time the Osborne spokesman is a caustic writer named Laurie (Paul Sco-field). Laurie, his wife, and two other married couples form the immediate entourage of a "dinosaur" of a film producer called K.L. They have fled their employer for a secret respite in Amsterdam, but they spend most of the evening talking about him and one another. Apart from the intramural shoptalk, the chitchat goes something like this. Dan: "Have you ever thought of airlines for homosexuals?" Laurie: "I say: what a splendid idea. You could...
HOLLAND FESTIVAL (June 15-July 9) takes place in four Dutch cities. Its imaginative programming includes four concerts devoted entirely to works of Berg, Schoenberg and Webern, played by The Hague Residentie Orchestra under Pierre Boulez in Scheveningen; three Debussy cycles in Amsterdam, Rotterdam and The Hague. More conventional fare by the Concertgebouw Orchestra; dance and opera (from Rameau's Platée to Schoenberg's Moses and Aaron) is also offered...