Word: kazan
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...just may be that Lainie Kazan,* 24, was. When Brooklyn-born Lainie signed on as understudy to Barbra Streisand in Funny Girl, she was unsure it would last, and promptly developed an ulcer. But she set to work sandwiching in acting lessons, music lessons and a few TV appearances whenever possible. Twice each week she did the show in the understudy rehearsal, but for ten long months Lainie's opening-night shivers had to wait. Healthy and unhoarse, Streisand never missed a performance...
...somehow the understudy who had been anonymously hoofing away in the chorus forgot to mention her illness, swallowed her fears, and bravely belted out the I'm the Greatest Star opener. "The few people who had started to leave heard me sing and came back," recalls Actress Kazan. At the close of each of her two performances, the audience roared its approval. And so a star was born? Not on your tinpanalley. To begin with, though Kazan's looks and style are remarkably similar, she is a lot of work away from being a second Streisand...
...family of music, dance, opera and theater. Guilty of some miserable productions, the repertory theater had been ultimately damned by its successes; the company that had been created to help revitalize the New York theater has succeeded only in imitating what is already there. News pictures of Miller and Kazan sweating out the "death watch" for daily reviews after an open ing illustrated how far they never got from Broadway...
...Lincoln Center rep company began compounding its errors from the outset. When it was set up nearly five years ago, the directors' first move was to go for Broadway brand names and select two of the best: Whitehead, producer of Bus Stop among other things, and Kazan, one of Broadway's most celebrated directors, who staged A Streetcar Named Desire and Cat on a Hot Tin Roof. Arthur Miller, after eight years of silence as a playwright, offered his services, which at the time may have appeared to be a dividend...
Miller Showcase. Demonstrating their Broadway orientation, Elia Kazan and Whitehead selected Miller's After the Fall as their first production. Whatever one thinks of the play, the one thing one can assuredly say is that no Broadway producer would have turned it down. A distinct timidity about striking out to new, non-Broadway frontiers was thus apparent at the beginning. The second choice, Eugene O'Neill's Marco Millions, served mainly to display the panoramic flexibility of the Washington Square stage, a genuflection to physical plant rather than inner spirit. The third selection, S. N. Behrman...