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...house lights dim, a pit orchestra plunges into the overture, the curtain goes up-and then? Well, what follows cannot be properly called a movie musical. It is a sound-staged version of the London-Broadway musical by Anthony Newley and Leslie Bricusse, reproduced before an audience of attentive cameras. The result might easily be mistaken for a show's out-of-town run-through on a night when most of the original cast have been laid low by a virus; yet the film has a certain economy-style charm and a cheeky spirit of what-the-hell-have...

Author: /time Magazine | Title: Cinema: Canned Theater | 4/22/1966 | See Source »

...that when his vocal cords were so sore they were bleeding, Merrick snarled: "As long as you can talk, you go on." Says Quinn: "I may not like the son-of-a-bitch, but I've got to admit that he produces plays well and makes them work." Anthony Newley, who survived two stints with Merrick in Stop the World, I Want to Get Off and The Roar of the Greasepaint! The Smell of the Crowd, mutters grimly: "Hitler didn't die at the end of World...

Author: /time Magazine | Title: Show Business: THE BE(A)ST OF BROADWAY | 3/25/1966 | See Source »

...ROAR OF THE GREASEPAINT-THE SMELL OF THE CROWD (RCA Victor) An other cast album laden with a children's chorus, this time a ragged and nasal group called the Urchins, who keep piping up to accompany Anthony Newley's singing and Cyril Ritchard's musical declamations. But the score, by Newley and Leslie Bricusse, has some good tunes, among them Feeling Good, sung with feeling by Gilbert Price, and Who Can I Turn To, the hit of the show...

Author: /time Magazine | Title: Television: Jun. 11, 1965 | 6/11/1965 | See Source »

...Newley has obviously modeled himself on Charlie Chaplin, but he loves the master less than the master's cloak, and he wears it with a rueful difference. Where Chaplin was earthy, Newley is smirkingly vulgar. Chaplin was a prisoner of life who sang in his chains; Newley is a resentful slave of the class system who cries in his pint of bitters. Chaplin's Little Tramp was a tattered knight of the open road, dueling his foes with his wits and a twirling cane. Newley's Oh-So-Little Man, windily inflated with his rights...

Author: /time Magazine | Title: Theater: Poppycocky | 5/28/1965 | See Source »

...stage has often been used as a soapbox, but Newley's brand of social protest is stale, sour and weary. Since the same message would cost nothing on a street corner, it takes a certain amount of bogus adornment and gall to charge $9.60 for it in the theater. Greasepaint has plenty of both...

Author: /time Magazine | Title: Theater: Poppycocky | 5/28/1965 | See Source »

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