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...outbound leg of the 420-mile, one-day road trip. Pitcher Jerry Houston and Infielder Raul Nieves are asleep, crammed into the overhead luggage racks. Centerfielder Lonnie Smith has his radio pressed against the window, searching through the static for rock music. Up front, Manager Lee Elia stares at the embers of a cigarette as he flicks it to the floor. It will be 2 a.m. before the day ends. Fourteen hours, more than seven of them on the road, for a 1-hr. 58-min. baseball game...

Author: /time Magazine | Title: Sport: Bush League | 6/23/1975 | See Source »

...Muse. Several cities are raising the curtain on a modern form of the Federal Theater Project, which at its height under the WPA in the 1930s employed 12,000 out-of-work actors, directors, playwrights and other stage artists, including Clifford Odets, Orson Welles, Harold Clurman and Elia Kazan. The present efforts are also federally financed, under the Comprehensive Employment and Training Act. In Los Angeles, 71 unemployed artists will be organized into acting, dancing and puppeteering troupes, which will tour the city's parks, schools and centers for the aged. In San Francisco, 113 jobs have been created...

Author: /time Magazine | Title: Business: RECESSION NOTES | 3/31/1975 | See Source »

...UNDERSTUDY by ELIA KAZAN...

Author: /time Magazine | Title: Books: The Assays of Elia | 1/13/1975 | See Source »

...director, Elia Kazan earned a niche in theatrical history with considerable help from classic scripts (Death of a Salesman, A Streetcar Named Desire) and talented actors (Marlon Brando, Vivien Leigh, Lee J. Cobb). Kazan's second career in the solitary business of writing has so far resulted in three commercially successful novels that tend to thrash about in alien corn. There is nothing wrong with The Understudy, for instance, that a good script and some believable characters would not help...

Author: /time Magazine | Title: Books: The Assays of Elia | 1/13/1975 | See Source »

...third act that proved troublesome. In order to assure the play's production, Williams felt compelled to knuckle under to director Elia Kazan's desires that Big Daddy return on-stage in the last act, that Brick undergo a change of character as a result of Act II, and that Maggie become more sympathetic. Williams saw some merit only in the last, but went along with all three. In Kazan's production, Big Daddy came back to hear Maggie's false claim of pregnancy and to tell a smutty joke. This was a half-hearted compliance...

Author: NO WRITER ATTRIBUTED | Title: Williams's 'Cat' Revised and Revived | 7/26/1974 | See Source »

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