Word: playwrightes
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...Every playwright wants to have at the critics, so when Russia's Yevgeny Yevtushenko read a New York Times article about his play Under the Skin of the Statue of Liberty with the headline "An Anti-U.S. Play Is a Hit in Moscow," he saw red. Pointing out that he had toured the U.S. and admired its young people, Apollo 16, jazz and the Grand Canyon, Yevtushenko told the Times: "Neither I nor the director could ever produce an anti-American production, since genuine art cannot be anti-people." New York magazine added a footnote, gleefully noting that...
Sounder is a variation of my grandfather's story: in many ways it is a variation of every black man's story. Adapted by black playwright Lonne Elder III (Cerrmonies in Dark Old Men), from William Armstrong's powerful allegory of black life in America. Director Martin Ritt carefully examines the economic, cultural, and judicial elements of white American society that impede the black man's search for freedom...
...ONLY two playwrights have more than one hit currently running on Broadway: William Shakespeare (Much Ado About Nothing and Two Gentlemen of Verona) and Neil Simon (The Prisoner of Second Avenue and one of TIME'S top ten of 1972, The Sunshine Boys). When Mr. Shakespeare's representative announced that he was unavailable, Associate Editor Stefan Kanfer settled for an interview with Neil Simon. At 45, Simon retains the astonished demeanor of a man who has just heard a loud noise. It is probably the sound of a cosmic cash register. In nine years Simon has become...
...that maxim about the low box-office appeal of satire applies as much in Israel as anywhere else. But the reason isn't always audience apathy. A satirical revue called Jesus, As Seen by His Friends-a fairly savage commentary on Israel's government establishment by Playwright Amos Kenan-lasted for only seven performances before it was closed down by Levi Guery, the official government censor. Guery explained that he found the revue "offensive to another religion...
First comes fury (Look Back in Anger) and then mordant self-pity (In admissible Evidence). If these assaults on man's conscience do not take effect, what is left but to call it quits? That is not precisely what Playwright John Osborne has done in his new London play A Sense of Detachment (his kind never quits). It is only that, having failed with passion and rational argument to persuade us to open our eyes and ears and hearts, Osborne now resorts to the figurative pig bladder and slapstick. He never totally succeeds (his kind never does...