Word: myerberg
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...Boston in some years. The opening of the play in Paris four years ago engendered violent controversy, which has followed it all over Europe and to the United States. The heart of the controversy lay (and still lies) in the allegedly enigmatic meaning of the play. Consequently, producer Michael Myerberg, in conjunction with his production last spring in New York, staged a weekly symposium at which those interested could discuss the play among themselves and with the people involved in the production...
Hansel and Gretel (Michael Myerberg) shows what the Machine Age can do to an old folk tale. Based on Engelbert Humperdinck's 1893 children's opera, Hansel is a 72-minute Technicolor production built around a new gimmick: electronically controlled robots with hands, eyebrows, and bodies that move...
...novelty quickly wears off. As "Kinemins," Hansel and Gretel are too human for fantasy, too clumsy on their magnetized feet to pass for real. Only with Rosina Rosylips, the witch, does Producer Myerberg bring his brainchild close to life. Swooping happily on her broomstick or chortling over Gretel ("She makes my mouth water" "I'm so glad I caught her"), Rosina Rosylips is fine fun. For the rest, despite Humperdinck's music and Evalds Dajevskis' eerily beautiful settings, Hansel is hoist on its own technology...
...feuds have involved her best plays. She does not speak to The Little Foxes' Producer-Director Herman Shumlin and Playwright Lillian Hellman (both leftists whose rows with Tallulah were political as well as professional). She does not speak to The Skin of Our Teeth's Producer Michael Myerberg and Director Elia Kazan. Shumlin will not even discuss her. Billy Rose, who starred her in Clifford Odets' Clash By Night, is more reticent about Tallulah than he is on most topics. During that play, in which Tallulah carried on several concurrent vendettas, she referred to Rose...
...Cradle Will Rock (by Marc Blitzstein; produced by Michael Myerberg) had trouble, ten years ago, finding a stage; Washington, for reasons never explained, ordered the original WPA production to "postpone" its opening. But once Orson Welles took it to Broadway, The Cradle had no trouble finding an audience. For if brash and biased, Marc Blitzstein's "play in music" about Steeltown's big bad boss, cringing sycophants and exulting strikers had zip and the Zeitgeist in its favor. It also had a good deal of theatrical novelty: a sceneryless stage that antedated Our Town's; Composer Blitzstein...