Word: elias
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Dates: during 1960-1969
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...which mostly they had. In recent years, however, New York has gone Wilde, and the newest darlings on its social circuit are artists and artisans who ten years ago were talked about but seldom talked to−such as, say, Norman (Mailer), Tennessee (Williams), Sammy (Davis Jr.), Gadge (Elia Kazan), Rudolf (Bing) and Cal (Robert Lowell). At the moment, the magic names are Andy and Edie...
...dissolves, leaving only the drama itself and its stated abstractions "in the mind, thought, and memory of Quentin, a contemporary man." It is Quentin's question, his search for hope and love after innocence has been lost, that must be real, not the past lives of Arthur Miller or Elia Kazan. But his eternal question is overshadowed by Maggie (Miss Monroe), by The Committee, and family, persons, and issues which become foci of dramatic attention instead of paths to Quentin's answer...
...letter in the current Variety, Harold R. Scott '57 points out that "the Negro members of the original company were signed to only one-year contracts by the previous co-directors, Elia Kazan and Robert Whitehead, while the majority of the permanent members were signed to two-year contracts." None of the Negroes' contracts has been renewed...
...theatre's other productions, O'Neill's Marco Millions and S.N. Behrman's But for Whom Charlie were coolly received, and The Changeling was disastrous. Because of The Changeling, the Center's Board of Directors decided to fire Robert Whitehead, the theatre's artistic director. With him went Elia Kazan, the director, and Arthur Miller, who will withdraw After the Fall and Incident at Vichy from repertory after this season...
...Director Elia Kazan...