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...Ronald Millar's Affair, on the other hand, is quite a poor play (irritating, too, for it is not nearly so good as it should be), but its shortcomings have nothing to do with any blunders by Sir Charles. Perhaps Millar would have done better to choose some other novel and novelist in the first place: Snow's books are wordy enough, goodness knows, but they're not especially talky; dialogue is usually reserved for the moments of climactic self-revelation hoarded by Lewis Eliot, who then mumbles them over in his tortuous brain, and fills most of the rest...

Author: By Anthony Hiss, | Title: The Affair and Come On Strong | 10/2/1962 | See Source »

Obviously, Millar had to dispense with Eliot's woollyminded ruminations, and, probably, he had to retain what little dialogue Snow himself wrote in order to claim any connection with the novel; the effect of his dramatization, is to bury Snow's lines and blur whatever impact they may have had in the book...

Author: By Anthony Hiss, | Title: The Affair and Come On Strong | 10/2/1962 | See Source »

...Affair, faithfully adapted by Ronald Millar from the novel by C.P. Snow, is set in the leather-chaired somnolence of a common room at Cambridge, and makes it crackle with the charges and countercharges of a courtroom trial. Dramatically, the play accumulates tension without generating passion. But for the theatergoer who is willing to forgo emotional nourishment, it provides a stimulating mental feast...

Author: /time Magazine | Title: Theater: First Nights in Manhattan | 9/28/1962 | See Source »

Snow's The Affair, which had a good run last season as adapted for the London stage by Ronald Millar, now comes to New York (Sept. 20). How Much? is Lillian Hellman's new play, an adaptation of a novel about an old woman whose family is energetically trying to ship her off to a nursing home forever (February...

Author: /time Magazine | Title: Broadway: The New Season | 8/31/1962 | See Source »

...three Davids have had sound training (Millar at Berkeley, Stanger at the New England Conservatory, Shapira at Juilliard), and in 1951 Conductor Millar even founded his own orchestra, the San Francisco Little Symphony, while appearing in nightclubs on the side. He was first violin with the Vancouver Symphony in 1945 when Bernstein made a guest appearance with the orchestra, advised him to make conducting his career. How did Bernstein know he was any good? Said Lenny as he returned to his orchestra last week: "You can smell a conductor...

Author: /time Magazine | Title: Music: The Three Davids | 10/17/1960 | See Source »

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