Word: broadway
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Dates: during 1960-1969
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...Broadway...
...performers, the heart of drama is political or social "confrontation," Repelled by what they consider to be the sterile fantasy land of conventional playhouses, the guerrilla troupes prefer the realism of open-air settings for dramatizing their message to children, students, workers and activists. Naturally, the values of the Broadway stage are anathema to them. "You cannot respond to junk like Tennessee Williams or Arthur Miller," insists Luis Valdez, an alumnus of the Mime Troupe and founder of El Teatro Campesino. "Art is communication. The more artful you are, the more straight-telling you are." This is roughly the esthetic...
Died. George White, 78, theatrical producer, whose flashy, fleshy Scandals vied with Ziegfeld's Follies and Earl Carroll's Vanities as the top Broadway attraction of the 1920s and '30s; of leukemia; in Hollywood. White introduced such future stars as Kate Smith, Ray Bolger, Rudy Vallee and Eleanor Powell to the Great White Way-which he always claimed was named...
Dave Hammond opens the show with a repertoire of show tunes. This could be grim, but Hammond is from Dudley House and knows where it's at when it comes to Broadway. He isn't about to sing of hills alive with the sound of music. Rather, he launches into some of the great obscure and near-obscure songs of our time...
Zeffirelli style-the flamboyant baroque settings, the epic brio that could turn a war horse into a steeplechaser. Although triumphant in opera, he has been somewhat less successful on the dramatic stage. His incoherent Othello was throttled by reviewers at Stratford-on-Avon. After seeing Zeffirelli's Broadway production of The Lady of the Camellias, TIME's critic called him "a director who needs a director." Even the movie of Romeo and Juliet will not please everybody, since it clearly reflects Zeffirelli's idiosyncratic opinions of Shakespeare. "Mercutio," he insists, "is a self-portrait of Shakespeare himself...