Word: centralized
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Dates: during 1960-1969
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...from U.N.C.L.E. is at once incidental and central to Vaughn's ambition. The show is fun. The two-year contract is oppressingly binding. "I don't consider TV serial drama to be anything other than a way to get out of television. Still, I can't think of a better television show to do than U.N.C.L.E. It requires absolutely no commitment emotionally or intellectually." The implication is that U.N.C.L.E. is simply a glamorous, money-making lark which keeps his name before the public until better things come along...
...opted for convenience. It acknowledged, but ignored. the serious consequences a large expressway along Brookline and Elm Streets will have for Cambridge. The highway will now run through the heart of the Central Square business district and the densely populated residential neighborhoods on either side of Mass...
Night Light. Then Hoving delivered his master stroke. He presented renderings done by the Met's architects of a gargantuan, glistening 136-ft.-long glass case (or, as Hoving calls it, a "vitrine") that would extend westward into Central Park from the Met's north wing to house the temple. The showcase would be supported by selfsupporting, interlocking trusses that would be virtually invisible; the whole temple would be lit up at night so that its contents could be seen from afar by passers-by on Fifth Avenue...
Half a dozen or so central characters, wearing both the blue and the grey, move forward to the conflict. On the Confederate side, the standouts are General Forrest, a bombastic, semiliterate slave trader who leads a ferocious cavalry charge, and Captain Hamilton LeRoy Acox, a mild Georgian who, though weary of war, wields a mighty sword in a lunatic moment at Fort Pillow...
Mayer's production brings together a far-flung assortment of talents, and makes of them a miraculous whole. Plebeians is not an instructive play in the ordinary sense. It is no lecture, but achieves its purpose by employing the audience as an equal partner, rising and falling with the central character, by making the stage what it is -- a stage -- and by having its cast stretch out, physically as well as metaphorically, into the audience. The blocking, which capitalizes on what are usually limitations in Agassiz Theatre, combines realism with esthetic pleasure, and modulates in perfect coordination with the play...