Word: broadway
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Dates: during 1960-1969
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Died. Albert Dekker, 62, seasoned character actor who appeared in more than 25 films (Two Years Before the Mast; Suddenly, Last Summer) and numerous Broadway plays (Death of a Salesman, A Man for All Seasons); by accidental strangulation; in Hollywood. An outspoken and intensely serious professional, Dekker once labeled the stage "a horrible place in which to make a living," yet continued to excel as the craggy, dark-voiced heavy whose villainy always seemed convincingly human...
...hope of the American theater has sometimes been placed in off-Broadway: in terms of sustained achievement this amounts to wistful thinking. Of the several playwrights who got their start off-Broadway, only Edward Albee has remotely fulfilled his promise. But since Virginia Woolf, his work has persistently dwindled in strength or substance. For one thing, Albee has developed a galloping case of adaptationitis, culling plots, characters and even dialogue from other writers' novels and plays. More surprisingly, he has lost the forked tongue that contributed so much to the venomous delight of Virginia Woolf. Albee unquestionably...
...over the theater for 2,000 years-for example, between the titans of Greek tragedy and the genius of Elizabethan England. The lackluster quality of contemporary U.S. playwriting and the dearth of substantial new talent are simply a gap rather than an omen. The conventional and obvious scapegoat is Broadway, but this is pure fallacy: Broadway, with all its faults, has presented, honored and sustained every major U.S. playwright...
Rumpus Room. The children's rumpus room of the U.S. theater is the off-off-Broadway café house-usually an operation that is long on valor but considerably shorter on value. Typical of this arena is Collision Course, a show consisting of eleven short plays, most of them by café-nurtured playwrights, presented last week at Manhattan's Café Au go Go. All were esthetic stillbirths. Alternating between juvenile temper tantrums and thumb-sucking private reveries, they dwelt on the tried-and-trite themes of alienation, lack of communication, male-female hostility, the nausea...
Like most revues that have pleased Broadway recently, Wait a Minim is not American and not strictly a revue. Ten years ago. La Plume de ma Tante, a French non-revue with a Hellzapoppin heart, zipped through its evenings on a series of musical numbers that somehow fell apart before they ever could get started. Coming a little later, England's Beyond the Fringe had little music and a lot of satire. Wait a Minim, standing somewhere between its predecessors, has its own hybrid identity. While the collapsing songs of Plume abound, so do jeering sketches, and, in a throwback...