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...York is on your shoulders as you walk down the street. New York has boxes where people work, boxes under the ground where people travel, and boxes where people live. The isolation and atomization continues out on to the street. In a small Western town, you can say hello to anyone. In New York, people are still encased in glass when they touch the sidewalks...

Author: By Gary Snyder, | Title: Stay in the Streets: Why | 4/13/1970 | See Source »

...theater, black is bitter. During a given tested month, December of 1969, more than half of all the black actors employed on Broadway were working in one show, the all-black production of David Merrick's Hello, Dolly!, and the cast numbered...

Author: /time Magazine | Title: Theater: Situation Report: The Theater | 4/6/1970 | See Source »

...over a crossing just 50 yards ahead. "Come fall," Flaar shouts, "when everybody is going down to the grain elevators, you get lots of guys racing you to a crossing." He tugs on the whistle and sounds a series of short toots and long wails. "That's my hello to an old gentleman in his 80s who lives back there. His relatives say it gives his morale a big boost...

Author: /time Magazine | Title: Modern Living: Last Days of the Zephyr | 3/30/1970 | See Source »

...what was modern thirty years ago no longer works. These days it is actually embarrassing when an actor breaks into song during a scene of a drama, even if the song is well integrated into the ???? why the successful musicals of the sixties- Hello, Dolly, Funny Girl, Mume, and the like-are already sufficiently dated to qualify as camp. Yet, very few people in show business seem to realize how quickly the "modern" musical has aged, how unacceptable these shows are now to most theatregoers under fifty. Certainly Hollywood studio heads are the most blind in this respect, which explains...

Author: By Frank Rich, | Title: The TheatregoerCompany at the Shubert through April 11 | 3/26/1970 | See Source »

...Company comes too late to get the audience that will appreciate it. Too many young theatregoers have either been priced out or bored out of attending Broadway musical theatre. Prince has finally solved the musical's aesthetic problems, but his show must play to the audience that still wants Hello, Dolly. While the theatre-party crowd might accept Prince's modernization of the form, what will they say about the show's tricky music, cynical approach to love, and lack of sentimentality? What will they say when the wonderfully bitchy Elaine Stritch attacks them directly in a "Drinking Song" that...

Author: By Frank Rich, | Title: The TheatregoerCompany at the Shubert through April 11 | 3/26/1970 | See Source »

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