Word: musts
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Dates: during 1960-1969
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...ranch's director, giving him notice that he and his fellow tribesmen were to be evicted. The Tangwena fought back and their appeals were sustained by Rhodesia's High Court. Unimpressed by such legalities, the government in Salisbury simply overrode the decision, proclaiming that the "squatters" must move to a nearby tribal reserve. Rekayi, whose full name means "Let Tangwena Be," refused to go. The new land, he said, is considered sacred by his tribe and serves as the burial ground for at least three of its chiefs. As a result, some of his people were afraid...
...apartment building. The youth demanded Jordan's wallet and watch, but the crusty Republican was in the mood for dissent. He swung. "It's ridiculous that you have to live dangerously like this," said Jordan, a 200-pounder who played football as a youth. "I figured I must be slipping when he got up again...
...chilling indeed. Considerable damage has already been done. Two promising revivals-Puccini's Fanciulla del West and Tchaikovsky's Eugene Onegin-have already been lost even if the Met opens, as it still conceivably could, in a month. Herbert von Karajan's new Siegfried, which must be done in November or not at all, seems likely to be scratched too. Though a handful of the Met's leading stars are still being paid full fees to keep them available, some are obviously itching to drift away and perform elsewhere. As one of them observed ominously...
...season that is starting, hope must be tempered with reason. At the present time the U.S. theater is in a drastic dual crisis. The obvious one is money. In 1956, My Fair Lady was put on for $400,000; last May Dear World lost its backers upwards of $750,000. The theater's angels, who customarily take their temperatures with a Dow-Jones thermometer, feel distinctly chilly after a sustained stock-market decline. The result is that while 33 new plays and 45 musicals have been announced for the season, only seven plays and four musicals are definitely scheduled...
...nation's theater never lives by money and talent alone. Zest, hard work, devotion and love must be present. One woman in New York epitomizes those qualities: Ellen Stewart, the indefatigable doyenne of off-off-Broad way's experimental Café La Mama. Out of La Mama have come Jean-Claude van Itallie (America Hurrah!), Tom O'Horgan, (director of Futz and Hair), Sam Shepard (the 27-year-old author of Red Cross and Chicago), Leonard Melfi (Jack and Jill) and a host of others. Ellen Stewart announces the evening's program by ringing a homely...