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...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...

Author: By Peter Grantley, | Title: The Theatre Gap | 4/13/1965 | See Source »

...Director Elia Kazan...

Author: /time Magazine | Title: Show Business: Do Stars Grow in Brooklyn? | 2/19/1965 | See Source »

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...

Author: /time Magazine | Title: Customs: In the Cards | 12/25/1964 | See Source »

...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...

Author: /time Magazine | Title: Repertory Theater: After the Fall | 12/25/1964 | See Source »

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...

Author: /time Magazine | Title: Repertory Theater: After the Fall | 12/25/1964 | See Source »

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