Word: michael
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Dates: during 1960-1969
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...MICHAEL A. POWE Seattle
Mention should be made of Michael Bennett's fast and loose choreography, particularly the sardine-can motif with which he conjures up a Second Avenue bar, of Robin Wagner's sensible sets, of Jonathan Tunick's really hot orchestrations, and of Robert Moore's uncommanding but attractive direction. Mention must be made of Marian Mercer, who in a small part does the best musical-comedy drunk in memory...
Andrew Jamison seems to think that the Harvard community should be chastised for not submitting docilely to the spectacle of boredom and inarticulateness presented by Dietrich Wessel. It seems to me that Mr. Wessel's "history of German SDS" could have been better rendered by Michael Walzer in twenty minutes, or by a competent poet or film-maker in ten. Mr. Wessel was a failure as a rhetorician and as a disseminator of radical thought: that was the overriding reality of the Sept. 27 fiasco in Lowell Lec. He was simply out of touch with the mainstream spirit...
...TUESDAY NIGHT AT THE MOVIES (NBC, 9-11:15 p.m.). Gambit (1966). A lesson in international cat burglary, with Michael Caine and Shirley MacLaine...
...Squad (Tuesday, 7:30-8:30 p.m.). This show, also integrated, offers a trio of attractive but unlikely soulmates: a tousle-haired beat from Beverly Hills (Michael Cole), a lithe Afro cat from Watts (Clarence Williams III) and a blonde waif (Peggy Lipton). As undercover agents for the fuzz, they sometimes find that the badge is not their bag. Nonetheless, they manage to balk a blackmail-and-kidnap plot involving a gubernatorial candidate (his daughter is on acid). The dialogue staggers to keep pace. Sample: "Ain't it the mother truth?" Despite the fresh faces-particularly Williams...