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...past two months, however, Kuala Lumpur's food stalls have closed early and the street crowds that usually mingled pleasantly now scatter for cover at any unusual sound. In the wake of bloody race riots that may have claimed 2,000 lives, Malaysia's peoples have bro ken little bread together; they have probably broken any hope for multiracial harmony for many years to come...

Author: /time Magazine | Title: Malaysia: Preparing for a Pogrom | 7/18/1969 | See Source »

...right, Lermontov manipulating Pechorin--and in the end, perhaps, Pechorin manipulating Lermontov. The perspective is at times a bit like looking into one of two opposed mirrors, as you try to sort out the images and assign them to the figures, and a lesser actor than Bro Uttal would have made himself very dizzy in the attempt. It is no mean dramatic feat to slip from Pechorin's supercilious mastery of events to Lermontov's grotesque helplessness, but Uttal manages it as easily as taking off his coat...

Author: By Jerald R. Gerst, | Title: A Hero of Our Time | 4/26/1969 | See Source »

...Bro Uttal is also fine as Tolen, the man who has the knack (with women, for those unfamiliar with the work). Uttal stoutly maintains the rhythm of his characterization while much around him dribbles away to incoherence...

Author: By Glenn A. Padnick, | Title: The Knack | 5/8/1968 | See Source »

...extending the then quiescent Dadaist tradition. One of his inspirations: the wondrous Merzbau assembled by German Dadaist Kurt Schwitters between 1924 and 1933. It consisted of rooms full of wood and plaster along with oddments culled from junk heaps, including a Sex-Murder Cave, which housed a red-stained bro ken plaster cast of a female nude...

Author: /time Magazine | Title: Exhibitions: On All Sides | 5/3/1968 | See Source »

SIMILARLY, Bro Uttal's impotent, decaying gentleman, Gaev, was hampered by his conventional stage voice, Except for a few aberrant excursions into a Russian accent--notably a weird first-act "Dat's vhy"--he spoke clearly, firmly, strongly and wrongly in a kind of Laurence Harvey accent that disappeared only when his acting instincts carried him away. And Lloyd Schwartz's charming enthusiast Trofimov, who ended the first act in an exquisitely naive love scene with Miss Firth, seemed afterwards unsure how to time and blend his seriousness and humor...

Author: By George H. Rosen, | Title: The Cherry Orchard | 3/22/1968 | See Source »

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