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...clad clientele at Manhattan's gay Continental Baths, Bette Midler can look forward to at least a dressier audience this January at the New York State Theater. Belting Bette is scheduled to appear there with the New York City Ballet in a new production of Kurt Weill and Bertolt Brecht's The Seven Deadly Sins. Celebrated Choreographer George Balanchine chose her to play the lead role of the peripatetic showgirl Annie, a part created in 1933 by Weill's widow Lotte Lenya. Why? "She has a good voice and red hair." Says Bette...

Author: /time Magazine | Title: People, Dec. 13, 1976 | 12/13/1976 | See Source »

...most of Strehler's career has been spent in the theater. When he was rehearsing Bertolt Brecht's The Three penny Opera at the Piccolo Teatro in 1955, the playwright showed up, hung around after opening night and finally handed Strehler a message typed on an envelope. It asked Strehler to be the artistic custodian of Brecht's works, not just in Italy but in all of Europe. Brecht died the next year, and Strehler has carried on. His timeless, yet utterly contemporary staging of The Life of Galileo is considered a classic, used as guidance even...

Author: /time Magazine | Title: Music: Unlocking the Essence of Opera | 9/20/1976 | See Source »

...other influential woman in Carter's life is his mother, "MISS LILLIAN" (pronounced Lee-yun), a redoubtable personality who would have fascinated William Faulkner and Bertolt Brecht. Says she: "Everything I started, I finished. Jimmy got that from me." Indeed, she bequeathed him his pearly teeth, his smile, his inquisitiveness, his endurance -and, fans say, his compassion...

Author: /time Magazine | Title: The Nation: The Carters: Spreading Like Moss | 7/19/1976 | See Source »

...BERTOLT BRECHT and KURT WEILL

Author: /time Magazine | Title: The Theater: Sonata for Sharks | 5/17/1976 | See Source »

...Bertolt Brecht was an imp of ambiguity. He was an atheist; yet he admitted that Luther's German translation of the Bible was the greatest single influence on his work. He was antiheroic; yet in Mother Courage he created one of the most arresting heroines in 20th century drama. As a Communist, he proselytized for the poor, but he was as tightfisted as the socialist Bernard Shaw when it came to his own money. And this coolheaded didact of "epic"theater and "alienation" effects was a sentimental idolater of Charlie Chaplin movies...

Author: /time Magazine | Title: The Theater: Sonata for Sharks | 5/17/1976 | See Source »

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