Word: broadway
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Dates: during 1960-1969
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...BROADWAY '68-THE TONY AWARDS (NBC. 10-11:30 p.m.). Angela Lansbury and Peter Ustinov host the 22nd presentation of the Antoinette Perry ("Tony") Awards for theater, highlighted by production numbers from Hello, Dolly!, Golden Rainbow, Happy Time and How Now, Dow Jones...
...President, and a clothing manufacturer wants to put his pixyish grimace on dresses. "Can you imagine wearing my face out in public?" giggles Pollard. "Making money off my face?" He's already swamped with new scripts, has signed on for another movie, and this week opens on Broadway in Leda Had a Little Swan. In a dou ble role, he plays a doddering prep school headmaster and, more in character, an ultra-hippie student leader...
Sheila MacRae was in the running; so were Lisa Kirk, June Allyson and half a dozen others. Rarely had so many of Broadway's grandes dames hankered after one leading role-and a replacement part at that. Yet when Angela Lansbury stepped down from her brassy, jazzy, sassy lead in Mame after 775 performances, the plum was passed to a long shot-Janis Paiqe, 44, one of the leggiest of World War II pinups and famed as Babe Williams in 1954's The Pajama Game. "This is the show I've been waiting for all my life...
...obvious intent was to involve the audience, much as Happenings and psychedelic rock try to do. Still, most of what Kraft had to say was musical. His style projected a cool blend of rich dissonance and easygoing lyricism, and though Contextures seemed to owe almost as much to Broadway and jazz as to Stravinsky, there was never any doubt who the Kraftsman...
This Smurtz is specifically a walking directorial comment, carrying a special and limited message: behind these three acts of comic and pathetic folly are the forces of materialism and cultural prostitution. Shuman does his turn admirably. Looking for all the world like an afternoon at the Broadway Super-Market, he graphically mimes both pain and self-absorption. But at the point in the third act when he and Hamlin finally stand face to face, no amount of individual stagecraft can forestall the recognition that they are acting in different plays. Hamlin, for better or whose, is playing a text about...