Word: frankel
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...doubles matches, Sullivan and Ripley beat Moglen and Bartos 6-3, 6-4, while Woodbury and Walter coasted by Harley Frankel and Hank Kaplan 6-3, 6-1. Adelman and John Vinton completed the shut-out by polishing off Bob Dorman and Seth Schein...
...Private Life of the Master Race, is a tessera in a jeweled mosaic arranged from the poems, songs, plays, letters and aphorisms of one of the 20th century's most remarkable playwrights, the late Bertolt Brecht. Put together with artful concern by George Tabori, perceptively directed by Gene Frankel, and acted with selfless intensity by a cast of six, Brecht on Brecht is an arresting example of offbeat off-Broadway. Close to stage rear, a portrait of Brecht peers out at the audience, eyes wily and skeptical, lips sealed in a self-mocking smile, peasant fingers clenched around...
Neva Goodwin's "Mark Hatfield, Western Progressive" is a treacly success story of the sort I had hoped not to meet again in this journal. Emil Frankel's "Crisis in Republican Tradition" is a bizarre blending of truism, commonplace, and political myth appropriately flavored with citations from Russell Kirk and Goals For Americans. "Dynamic energy," Frankel insists, "Vibrant center. Creative traditionalism," and concludes that "It is the danger of depersonalization and conformity which must be fought in out society." I still don't know what liberal Republicans are. If they are simply a Crolyite fan club, why doesn't Frankel...
Kanal (Film Polski; Frankel-MJ.P.) is a cruel catalogue of the psychological terrors and physical tortures of trapped men. Almost the entire story takes place in the kanaly, the filthy, fetid sewers that coursed like petrified entrails through German-occupied Warsaw. It is September 1944, the final days of the Uprising, and the ragged remnants of a guerrilla company-waging a fruitless small-arms fight against Nazi tanks-are ordered to retreat underground. There, in sewage, they panic, drown, go mad, get lost, commit suicide and make love...
...truly provocative work well staged by Gene Frankel, The Blacks can be poetic, caustic, slapstick, can startle, puzzle, perturb. And Genet, in going back to the ritual origins of theater as a way of going beyond its modern routine conventions, achieves startling effects. But he pays a pretty steep price for them, either through a self-defeating technique or through an insufficiently mastered one. For, unable to advance through plot, The Blacks can only assault through repetition. True ritual serves well-defined occasions; "ritual'' here is stretched out to meet a varying host of demands. The shocking, never...