Word: elia
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Dates: during 1960-1969
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Versatile Peter Ustinov sent a hand-drawn cartoon of his family, Director Elia Kazan a hard-cover copy of his late wife's poem in honor of President Kennedy, and Burl Ives went so far as to enclose with his card a sermon by the Dean of Duke University Chapel, entitled "Bethlehem and Bedlam." But along with all the frankincense and myrrh was an ever increasing band of Scrooges-Walter Cronkite, David Brinkley and Earl Warren among them -who continued to cry humbug to the greeting game and sent no cards...
...been Manhattan's Lincoln Center Repertory Theater, playing for the past year in a temporary Greenwich Village theater and scheduled to move into the Lincoln Center complex next fall. Last week the dream had all but ended. Director Robert Whitehead had been forced out of his job; Director Elia Kazan had followed suit and resigned; and Arthur Miller, the rep company's principal playwright, had given up his association with the theater...
Miller Showcase. Demonstrating their Broadway orientation, Elia Kazan and Whitehead selected Miller's After the Fall as their first production. Whatever one thinks of the play, the one thing one can assuredly say is that no Broadway producer would have turned it down. A distinct timidity about striking out to new, non-Broadway frontiers was thus apparent at the beginning. The second choice, Eugene O'Neill's Marco Millions, served mainly to display the panoramic flexibility of the Washington Square stage, a genuflection to physical plant rather than inner spirit. The third selection, S. N. Behrman...
...Nichols deals in exaggerated probabilities, and his touch has made hits of all three plays he has directed so far-The Knack, Barefoot in the Park and Luv. He may be one of the more gifted and promising new directors to take his place in the American theater since Elia Kazan left Constantinople...
This large, crude, simple vision may be vaguely familiar to those who remember Paul Muni as Juárez, Wallace Beery as Pancho Villa, or Elia Kazan's Zapata, which had Judases aplenty and Marlon Brando on the same white horse that tourists can see in Rivera's mural in the National Palace. A novelist has more trouble than the makers of film epics. In this case, Fuentes has had to package the whole corpus of Mexican history into the dying body of a septuagenarian symbol named Artemio Cruz...