Word: anta
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...balding, burly real estate operator who did not become a playgoer until he passed 30, today is the busiest producer on Broadway. He handles the purse strings for 1) the Producers' Theater, a group he formed with Producer Robert Whitehead; 2) the famed Playwrights' Company; 3) ANTA (American National Theater and Academy); and 4) the Phoenix Theater, Manhattan's most distinguished off-Broadway playhouse. This season Stevens expects to have no fewer than 16 Broadway entries...
...account and a $25,000-a-year income from Detroit real estate deals. After a wartime hitch in the Navy, merely making money was not enough for Stevens, and he drifted into Detroit's Drama Guild. Before long, he bought his way onto Broadway, joined the board of ANTA, then became a member of the Playwrights' Company. He impressed such topflight playwrights as Maxwell Anderson and Robert Sherwood as a wonderful source of cash. Stevens now runs syndicates of theatrical angels and archangels, one of which put together $540,000 for this year's ventures alone...
Paying a Debt. "They're suspicious of us culturally." he says, referring to people he met on his recent ANTA tour of the Far East. "But at the same time they're pathetically anxious to hear what we have to offer." In Japan in particular. Istomin found, audiences were attracted by the openness and spontaneity of Western music...
...school, style or fad, the Phoenix in its first season walked off with a wide variety of laurels, including the New York Drama Critics Circle Award for The Golden Apple as the year's best musical, the Shakespeare Club Award for its production of Coriolanus, and an ANTA citation for having created "the most exciting theatrical news of the year...
Even the most distinguished presentation of the week, NBC's two-hour-long production of the ANTA revival of The Skin of Our Teeth, was in some measure a sales pitch for mankind in general. Concocted for the theater when the iconoscope was still a gadget little known outside the laboratory, Playwright Thornton Wilder's crazy, mixed-up parable of the human race is a tale told largely in TV's own terms. Its soap-opera domestic situation, its firm reliance on interpolated newsreels, its constant comic interruptions and its narrow escapes from the maudlin...