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Aristophanes worships the risque; his play is loaded with the kind of jokes you imagine Avatar fiends or prep school boys tell each other. Any innocent mention of rising, the playwright apparently believes, deserves a comeback with the wickedest innuendoes...

Author: By Joel Demott, | Title: Lysistrata | 12/16/1967 | See Source »

...TRIALS OF BROTHER JERO and THE STRONG BREED, by African Playwright Wole Soyinka, introduce two aspects of Nigerian life to Manhattan audiences. In the first play, Harold Scott is a devil of a "prophet" as he gathers his "flock" on the beaches. In the second, Scott gives a taut interpretation of a voluntary victim of tribal sacrifices...

Author: /time Magazine | Title: Television: Dec. 15, 1967 | 12/15/1967 | See Source »

This reasoning proved fallacious for Playwright Kyle Crichton, who had a 1956 Broadway flop with The Happiest Millionaire, which was based on the Philadelphia childhood reminiscences of Cordelia Drexel Biddle. The formula fails again in Walt Disney's movie musical. The main trouble this time is that Fred MacMurray's impersonation of Colonel Anthony J. Drexel Biddle is eccentric but not lovable. He is, in fact, a boor...

Author: /time Magazine | Title: Cinema: A Biddle as Boor | 12/15/1967 | See Source »

...David Halliwell, the playwright, gives the character a new twist. He shows in some tremendously comic episodes that his hero is a power-hungry Hitler because he's afraid he really has no power at all. Malcolm has a hard time just getting out of bed in the morning. And he has an even harder time screwing up his courage enough to accept advances from the girl he likes. Kenny McBain's production (he directed the show and played the title role) implied that hesitancy with Ann Gedge and ensuing self hatred were what spurred Malcolm on to power politics...

Author: By Joel Demott, | Title: Little Malcolm, etc. | 12/12/1967 | See Source »

...Playwright Timothy Mayer's saga isn't very pretty. Fisk began as an itinerant peddler, Gould as a dirt farmer: together they built their lives from nothing, built a legend, a part of Americana. Chronicling this tremendous growth, Mayer knowingly reminds us of the incredible amount of destruction involved. We are reminded twice in the third act by references to Sherman's campaign of destruction "from Atlanta to the sea" that Fisk's initial capital was made from war profiteering. The brilliant and terrifying second act finale takes place in a palatial banquet hall overlooking a crowd of thousands...

Author: By Tim Hunter, | Title: Prince Erie | 12/8/1967 | See Source »

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