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Word: broadways (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
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Usage:

...SULLIVAN SHOW (CBS, 8-9 p.m.). CBS Studio 50 will be renamed the Ed Sullivan Theater on tonight's show, making Sullivan the first TV personality in history to have a Broadway theater bear his name. Guests Pearl Bailey, Gwen Verdon, Alan King and Wayne & Shuster are among the celebrators...

Author: /time Magazine | Title: Television: Dec. 8, 1967 | 12/8/1967 | See Source »

...Broadway THE PROMISE, by Aleksei Arbuzov. Two teen-age boys meet a teen-age girl in a gutted Leningrad flat during the siege of 1942. The girl loves the would-be engineer, but he leaves, and she marries the would-be poet, but he fails. Thirteen years later, the situation is reversed. To compound the confusion, the cast is as incorrigibly British (Eileen Atkins, Ian McKellen, Ian McShane) as the play is Russian. This particular brand of Soviet drama should have been exiled to Siberia...

Author: /time Magazine | Title: Television: Dec. 8, 1967 | 12/8/1967 | See Source »

...BIRTHDAY PARTY, by Harold Pinter. A man whose birthday it is not finds himseIf the guest of honor at its celebration and behaves as if he were a corpse at his own wake. Which well might be the case. The early Pinter puzzler is brought to the Broadway stage with an American cast

Author: /time Magazine | Title: Television: Dec. 8, 1967 | 12/8/1967 | See Source »

...biting sarcasm of Mahler, a Milhaud-like use of jazz, and insistent rhythms at once reminiscent of Igor Stravinsky and Leonard Bernstein. Combined with the nearly contemporary Town Piper Music of Richard Mohaupt (for the full Band) the work gave the second half of the program a decidedly Broadway cast. In both works Walker and the Band had an opportunity to exhibit the vitality and rhythmic drive that always make them worth hearing...

Author: By Robert G. Kopelson, | Title: Harvard Band and Wind Ensemble | 12/4/1967 | See Source »

...Agassiz the book occasionally takes it in the ear. First of all, the extra songs (an innovation borrowed from the recent off-Broadway revival) are preceeded and followed by predictably awkward transitions. Also it helps not at all that each musical number, when the dancing is over, has gone on so long you forget whatever plot-point led into it. Worse yet, director Porter and his company are plainly more comfortable when the music is playing than when it's not; when there's no dancing, no orchestra, and no flashy movement, everything falls a little flat...

Author: By James Lardner, | Title: Cole Porter's 'Anything Goes' | 12/1/1967 | See Source »

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