Word: broadway
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Dates: during 1960-1969
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...harborside atmosphere of Piraeus and things Greek, Illya need never have left the port of Manhattan. Except for the sterns of a couple of steamers, the sets are routine Broadway. Manos Hadjidakis' diluted bouzouki score is slumberously unvaried, and no number equals the appeal of the repeated Never on Sunday. The dancers spin like zany revolving doors and slap themselves like victims in a mosquito plague, and there is never the faintest hint of those teasingly slow, sinuous Greek male dances that seem to be sculptured...
Trail of Checks. In 1962, Philadelphia's city controller stopped payments to the Broadway Maintenance Co., which serviced the city's lights and parking meters, charging negligence, destruction of records, padding of bills and payoffs to city officials. Reporter Karafin raked no muck this time. Instead, he came to Broadway's defense, accusing the controller of making wild charges, praising the company for its "good maintenance program." Eventually a judge ordered the controller to stop blocking payments to Broadway, and the firm received a new $800,000-a-year contract from the city. All the time Harry...
...openers last week, the Ahmanson mounted Man of La Mancha with the original Broadway leads, and the Taper presented John Whiting's The Devils. Both productions were polished and professional, and the performances were first-rate. Elliot Martin, director of the center's Theater Group, hastens to point out that he is not running a rental hall for touring New York shows. Last week he announced that his first work of the fall season, a more characteristic center production, will be the U.S. premiere of Eugene O'Neill's last play, More Stately Mansions. The star...
Both Davidson and Martin are aiming for a theater life for Los Angeles that will compare with or excel Broadway's best. They've got a good start. By last week, the Taper had virtually sold out its first season with more than 30,000 subscriptions...
...section outsparkled the others, it was "Rubies," in which Balanchine teamed with the composer who has inspired some of his finest ballets, Igor Stravinsky. For Stravinsky's spare, syncopated Capriccio for Piano and Orchestra, Balanchine created lively, Broadway-flavored footwork. In the hot atmosphere of scarlet costumes and lighting, his dancers bobbed, swiveled and stretched in patterns of perky wit and sexy grace. Patricia Neary clowned elegantly, and Edward Villella and Patricia McBride drew cheers for the jazz joie de vivre with which they bounded through their intricate roles...