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...Jack Gelber. 311 pages. Macmillan...

Author: /time Magazine | Title: Books: Also Current: Jul. 24, 1964 | 7/24/1964 | See Source »

...Jack Gelber's screenplay provides a loose framework in which the actors develop their roles. What symbolism he introduces is entirely appropriate. For instance, Cowboy dresses all in white, like an angel, and he brings with him Sister Salvation (Barbara Winchester), a little old lady with whom he has allied himself as protection against the police. While the addicts file in for their fixes, she delivers a little sermon, but the salvation she offers is as insubstantial as Cowboy...

Author: By Hendrik Hertzberg, | Title: The Connection | 4/23/1964 | See Source »

...Although they added 16 seats to the 35 they had in the last Parliament, the Liberals had hoped to gain even more of Ontario's 85 seats. The N.D.P. retained its six seats, although David Lewis, deputy leader of the Party, lost his York South riding to Liberal Marvin Gelber. Liberal leader Lester Pearson easily won his Algoma East constituency...

Author: By Ronald I. Cohen, (SPECIAL TO THE CRIMSON) | Title: World & National News | 4/9/1963 | See Source »

...Turks of off-Broadway's lively decade have given the theatrical scene, including Shubert Alley's fearful fat cats, a healthy and creative shaking-up. Off-Broadway fostered the fresh and uninhibited talents of such playwrights as Edward Albee (The American Dream), Jack Richardson (Gallows Humor), Jack Gelber (The Connection) and Arthur Kopit (Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feeling So Sad). Such playwrights as Shaw, Ibsen, Chekhov, Moliere, Pirandello and O'Casey -all banished from Broadway on the not unlikely ground that there...

Author: /time Magazine | Title: Theater: Off-Broadway Reckoning | 2/15/1963 | See Source »

This ham-and-existentialist Zenwich put together by a young American absurdist named Jack Gelber and first served in an off-Broadway theater, was eagerly gobbed up by sensation-hungry hundreds of let's -go-down-to-the-Villagers. But what was fundamentally wrong with the play remains fundamentally wrong in the film it is not life, it is not art, it is not interesting. Philosophically, it is an uninspired restatement of Waiting for Godot; esthetically, it is just a drop in the Beckett...

Author: /time Magazine | Title: Cinema: Ham-&-Existentialism | 10/5/1962 | See Source »

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