Word: exits
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Dates: during 1960-1969
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...think this sort of staging is a mistake. It exaggerates the problems of working in the Loeb because it breaks up the illusion. A band of soldiers, for example, parading down the center aisle, calls attention to the linoleum on the floor and the exit signs above the doors near which they enter. The shallow sets destroy the sense of a world around the actors. Flats too far forward make the action seem two-dimension, which undercuts whatever believability the actors have given the play. The stylized sets in the three spring productions also enhanced the artificiality...
Menzel noted that the flight was the "most complicated" space venture yet embarked upon by the United States. He called White's exit from the capsule "a very necessary part of the experimentation" needed for further progress...
...Kennedy Administration again faced the problem of the Sovietization of Cuba, this time in infinitely more dangerous circumstances. Having learned a lesson about opinion, Kennedy did not hesitate to go to the brink to get the Russian missiles out of Cuba; but he gave Khrushchev a face-saving exit through the U.N. decompression chamber. The onlooking world, though nervous, on the whole approved the U.S. action. Kennedy passed up the opportunity of invading Cuba and destroying the Castro regime-not primarily because of world opinion but because of his calculation of the risks...
What one remembers at the theatre exit, however, are not Quentin's monologues but the carefully written group scenes, the distillations of a life that could provide several plays. One just doesn't listen to Quentin's speeches, and his generalized guilt becomes real only in what is now the largest of dramatic commonplaces, the mass murders of Nazi Germany. Quentin's prolix introspection provides only relaxation before the next rise of tension, the scenes that are the play's reality. As such, After the Fall is a dramatist's tour de force, but not a live play...
...does as she always does. There were some boos after the first act of a gala opening-night Norma in 1958, and Soprano Maria Callas stomped out without further ado. So the Rome Opera canceled her contract for three additional performances. Their mistake. The reason for her hasty exit, said La Callas, was a sore throat, and a Roman court that examined her medical certificates agreed. The opera management now has to honor her original contract and pay the diva $2,800 for the operas she didn't sing. With Callas, even silence is golden...