Word: herberts
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Dates: during 1960-1969
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...aides desperately juggled logistics, it seemed considerable, but far less than had appeared likely during the gloomiest weeks of struggle. Most of the star singers are available, but fitting them into an impromptu schedule will be a computer-size job. The delay has ruled out four fancy new productions: Herbert von Karajan's long-awaited Siegfried, Orfeo ed Euridice, Weber's gloomily romantic Der Freischutz, and a Russian-language Boris Godunov. But the Met's first week will probably open with Aïda and Leontyne Price, and there are plans for brand-new productions by Franco...
FORTUNE AND MEN'S EYES, by Canadian Playwright John Herbert, was, when originally presented in 1967, a scorching indictment of the prison system, with its brutal guards and tyrannizing homosexual inmates. As restaged by Sal Mineo, complete with the added attractions of blood, gore, a nude rape scene and an almost totally inept cast, it turns out to be nothng more than a carefully placed kick in the groin...
FORTUNE AND MEN'S EYES, by Canadian Playwright John Herbert, was, when originally presented in 1967, a scorching indictment of the prison system, with its brutal guards and tyrannizing homosexual inmates. As restaged by Sal Mineo, complete with the added attractions of blood, gore, a nude rape scene and an almost totally inept cast, it is nothing more than a carefully placed kick in the groin...
...first directorial assignment, Herbert Ross lights Clark's songs as if she were doing a turn on This Is Tom Jones, and tends to place his camera at jarring angles. He even mounts it on the V-l, making the viewer feel like a patient of Dr. Strangslove. No matter. It is one of the graces of group art that if any one can destroy a project, so any one can save it. Mr. Chips is barely enough because Mr. O'Toole is more than enough...
...Broadway producers have found that homosexuals will flock to plays about themselves. Yet most dramas about deviates are written for heterosexual audiences. The New York stage currently offers John Osborne's A Patriot for Me, Mart Crowley's The Boys in the Band and John Herbert's Fortune and Men's Eyes, a 1967 drama about prison life. Revived last week in a new production, it has been rewritten so that a scene of forcible sodomy that used to take place out of the audience's sight is now grimly visible (though simulated). In movies, too, homosexuality is the vogue...