Word: elia
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Dates: during 1960-1969
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...year ago, wrote Baker, a theater script had been rejected as too far-out because it had Khrushchev's nephew defecting to the U.S. and joining the John Birch Society. But life outdid art. "Stalin's daughter defected to the U.S. and joined Sam Levenson and Elia Kazan in the society of bestsellers...
Gyimes staged an off-Broadway revival of Ibsen's Lady from the Sea that lasted only three weeks but got Sandy an agent who wheedled her into a Palm Beach production of William Inge's Bus Stop. At the same time, Elia Kazan was casting Inge's new Broadway production, The Dark at the Top of the Stairs, and when Tuesday Weld suddenly lammed for Hollywood, Sandy became understudy for two roles. She used to report in with a pun reflecting her desperation: "Dennis, anyone...
Meanwhile, Elia Kazan remembered her "originality" and cast her as Natalie Wood's nasty girl friend in her first film, Splendor in the Grass. Then came "my most favorite play, my favorite experience," A Thousand Clowns. "Before that, I was always in a position to be fired. After every rehearsal, I knew they were discussing whether to let me go." Besides, the Clowns company (including Gene Saks, William Daniels, Jason Robards) meshed like the Budapest String Quartet. Robards was "wild, fantastic, my most favorite actor that I ever worked with." Among other things, "he taught me what it means...
Director Chris Arnold has several advantages in putting On the Town on the stage: a number of good voices and as many good actors, including some surprisingly competent bit players. He has an an imaginative and ambitious choreographer in Chet D'Elia, and in Judy Friedlander a costume mistress who evokes early Forties styles exceedingly well. But there are also disabilities. For one thing, the stage is not much larger than a hopscotch square, and it shows up any amateur faults in the show's drive for professional slickness...
Naturally the stage cramps D'Elia's choreography, which suffers from overambition. The dancers are good, being recruits from the Boston Conservatory and refugees from the Jazz Dance Workshop, but they have so much complex work to do in this ballet-heavy musical that they don't always move sharply or together. The girls tend to be more effective than...