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William and Jean Eckart created the single all-purpose set, a convincing and pleasantly large living room. And Florence Klotz is responsible for Miss O'Sullivan's handsome dresses. Should you see Never Too Late? Sure. But if you miss it this year, there'll be another one like it next year. And the year after...

Author: By Anthony Hiss, | Title: Never Too Late | 10/31/1962 | See Source »

William and Jean Eckart designed the extremely handsome settings. Since the cast includes three Rosepettles, Commodore Rosabove, Rosalie, and Rosalinda the fish--and, for all I know, Jonathan may be keeping a "Rosebud" sled in his closet--it is no surprise that the chief color of the decor (and of some of the costumes) is rose, with which two pieces of orange-upholstered furniture are delightfully inharmonious. And Thomas Skelton's lighting, properly non-realistic, is stunning...

Author: By Caldwell Titcomb, | Title: 'Oh Dad, Poor Dad,' etc. | 3/21/1962 | See Source »

...chaste has got to be chased," they talk of sponsors, top brass, secret weapons, summit meetings and population explosions. Against all this, the evening offers Jan ice Rule as a Diana down in Athens from Olympus, Cyril Ritchard as a Pluto up from Hades, attractive William and Jean Eckart sets. The musical also has at least one good Dania Krupska ballet, and some of Offenbach's best and best-known tunes...

Author: /time Magazine | Title: Theater: New Musical on Broadway | 4/14/1961 | See Source »

...steam room. The show turns sprightly once again when a bunch of neighborhood tykes warble Uh-Huh, Oh Yeah. It tingles pleasantly when Barbara McNair and Lonnie Sattin sing Fair Warning and reprise All of These and More. And it looks nice, thanks to William and Jean Eckart's sets...

Author: /time Magazine | Title: The Theatre: New Musical in Manhattan, Feb. 3, 1958 | 2/3/1958 | See Source »

...lavender drape down about her head. "Who in hell moved the curtains?" the prop man screeched from across the room. The sets towered up to within an inch of the overhead pipes and lights. "The street scene is this shape because the studio is this shape." said Designer Bill Eckart. He was worried: "I don't know what we'll do about Cinderella's coach and horses. I guess we'll have to film them, because everyone here is afraid of horses...

Author: /time Magazine | Title: Television: Rear View | 3/25/1957 | See Source »

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