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...between the elite and the masses, both in the broad public arena and in the narrow but fierce politics of the hearth. Sam Waterston portrays a young London architect who gets his big break, a commission to design public housing. Mindful that semidetached cottages are what blue-collar Britons prefer, he nonetheless opts for massive towers as the only practicable response to the vagaries of the redevelopment site. Glenn Close plays his wife, gradually torn between loyalty to him and belief that the community should decide its own fate. Mary Beth Hurt and Simon Jones are their intrusive, dependent neighbors...
...official. Others believe that Hussein plans to use his improved relations with Assad to put pressure on Yasser Arafat, chairman of the Palestine Liberation Organization, whose refusal to endorse U.N. resolutions stating Israel's right to exist has stalled the King's peace plan. Assad loathes Arafat and would prefer Hussein to support harder-line Syrian-backed P.L.O. rebels. According to another theory, a Jordanian-Syrian reconciliation might scuttle the U.S.-backed peace process altogether if Hussein were to embrace Assad's uncompromising position toward Israel...
...text for decades, absorb observations from a dozen or more productions, and feel so weighty a burden of tradition that they see no value in reviving the play unless they can do something offbeat with it. Audiences, on the other hand, often find older texts hard to follow. They prefer a straight, uncomplicated rendering that delivers faithfully what the author intended. But it is often impossible to be sure what the author intended. In the case of William Shakespeare, the most revered and toyed with of dramatists, what we think of as straight is by and large what the Victorians...
...report Painter Katz as saying, "I'd like to have style take the place of content, or the style be the content ... I prefer it to be emptied of meaning, emptied of content." I find this a strange goal for an artist. It leads to a formula for artistic and spiritual nothingness. John Risdell New York City
Sonia was the tragic Horowitz. A pretty but moody girl with dark burning Toscanini eyes, she was her famed grandfather's favorite and could speak to him in a way that nobody else dared. The maestro once asked her whether she would prefer to be a conductor or a pianist. "A conductor," Sonia replied. "It's easier." She was naturally talented, adept at the piano, a good writer, accomplished at painting and photography. But she was emotionally unstable, and Toscanini's death in January 1957 grieved her deeply. Five months later, she was severely injured in a motor-scooter accident...