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JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS by Mort Shuman and Eric Blau: director Guy Rochman, music director Tom Johnson, Mather House Dining Hall May 4-7 house open 8:30 PM curtain 9:00 PM $2.50 (including wine and fruits of the season) call 495-4384 for tickets...

Author: NO WRITER ATTRIBUTED | Title: Spring Arts Festival | 4/27/1972 | See Source »

...BLAU Camera Press Ltd. London...

Author: /time Magazine | Title: Letters, Oct. 18, 1971 | 10/18/1971 | See Source »

...shows, and understudied Barbra Streisand in I Can Get It for You Wholesale. It was like sending a sparrow in for a hawk. Off-Broadway was a better avenue for her talents. In 1961, she found herself in a little musical entitled O, Oysters! Its author-producer was Eric Blau, a minor poet who was to become her second husband. A ghostwriter by trade (for Mickey Mantle, Jim Brown), Blau had a contagious obsession: Jacques Brel. "I was knocked out when I heard his work," he recalls. "I had never known any songwriter to address himself to the human condition...

Author: /time Magazine | Title: Show Business: Alive and Well | 5/18/1970 | See Source »

American Treadmill. Brel's idiom is barely translatable from Flemish to French, let alone from French to English. Blau and Shuman went an impossible step farther, translating English into American. Les Flamandes (The Flemish Women), for example, became Marathon, and metamorphosed from a Belgian character study into a portrayal of the American treadmill. Then came the hard part. Blau wanted the show staged with "everything floating, and the feeling that all was pressed against a tapestry of utter silence." Off-Broadway, utter silence is a phenomenon that usually occurs only after a show closes...

Author: /time Magazine | Title: Show Business: Alive and Well | 5/18/1970 | See Source »

...number of dramatists and the preponderance of influential dramatic critics seem to have taken all this to heart. Popular thesis books like Brustein's Theatre of Revolt, Bentley's Bernard Shaw, and Blau's The Impossible Theatre argue that a binding social vision has characterized the best of twentieth century drama, and, in the case of Shaw and Brecht, has been responsible for the continuity of the century's finest playwrights. Few critics, other than Marxists, have been very disturbed that neither dramatist was particularly successful in getting programs adopted, legislation passed, or governments changed. It is enough that their...

Author: By Timothy S. Mayer, | Title: The Cult of Social Theater | 6/15/1967 | See Source »

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