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Billy Jim Layton, assistant professor of Music, considered the decision a reflection on the jury itself, not on the state of contemporary American music. He said that the jury has been conservative in past awards and has ignored the "most interesting music." "It is quite wrong to ignore any kind of music--conservative, avant-garde, or electronic," he added...

Author: By Beth Edelmann, | Title: Composers Here Question Pulitzer Jury's Decision | 5/6/1965 | See Source »

...Layton noted that the prize in music "hasn't always been for the most distinguished work," and that the jury's record has been "erratic." He "would certainly hesitate to say that there hadn't been a single work worthy of the prize...

Author: By Beth Edelmann, | Title: Composers Here Question Pulitzer Jury's Decision | 5/6/1965 | See Source »

...second and last act of Peterpat is a kill-and-make-up reconciliation scene. Under Joe Layton's fluid direction, it is a remarkably resourceful display of in-bed infighting. The sight gags are eruptively funny and the dialogue blends the flip quip with the rueful truth, as when Pat says to Peter apropos of his mistress: "Just think, if you had married her ten years ago, today you could be having an affair with...

Author: /time Magazine | Title: Theater: Kill & Make Up | 1/15/1965 | See Source »

Audrey Hepburn's Oscar-winning movie Roman Holiday will be revisited by Playwright Robert Anderson, who wrote Tea and Sympathy, Composer-Lyricist Richard Adler (Damn Yankees) and Director Joe Layton (No Strings). A Katharine Hepburn movie, Summertime, which was adapted from a Shirley Booth play, The Time of the Cuckoo, is being re-adapted for the theater by Richard Rodgers and his new collaborator, Stephen Sondheim, the lyricist for Gypsy and West Side Story. Another Tinker-to-Evers-to-Chance play will be the musical of Clifford Odets' durable Golden Boy, which opened in 1937, became a movie...

Author: /time Magazine | Title: Broadway: The Line-Up | 8/28/1964 | See Source »

David Hays' sets and Joe Layton's choreography combine to produce striking visual effects. Often the stage is starkly simple, as in the first scene, when Barbara and David stand beneath their separate spotlights, shrouded in darkness and oblivious of each other. Strolling flutists and clarinetists share the stage with the singers. Among other things, No Strings represents a successful experiment in integrating music and action; all musical accompaniment occurs on stage, and often the musicians participate in the action itself...

Author: By Constance E. Lawn, | Title: Rodgers' Newest: 'No Strings' | 8/9/1963 | See Source »

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