Word: premi
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Dates: during 1970-1979
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...Women's Lib. At least that is what seems to have been intended in this half-hour comedy purportedly inspired by the 1949 classic Spencer Tracy-Katharine Hepburn film of the same name. But the first two episodes did little to advance the cause. In the première, the woman lawyer was so emotionally shattered by having to spend a single night in the clink that she could not open her mouth in court the next day. (Hubby came to the rescue, naturally.) The next week she "proved" her right to wear a pantsuit into a fancy...
Opera Star Eleanor Steber, 57, now largely confines herself to concert appearances and to teaching at the Cleveland Institute, Juilliard and the New England Conservatory. But for the American première of Benjamin Britten's opera Owen Wingrave, in Santa Fe, N. Mex., the soprano sang the role of the old battle-ax aunt to Alan Titus' young Owen. Letting out all the stops, Steber, done up in Victorian rig, calls her nephew a coward for not following in the family's military tradition. How did it feel to play the heavy for a change...
DEAN MARTIN PRESENTS: MUSIC COUNTRY (NBC, Thursday, 10-11 p.m. E.D.T.). Filmed entirely on location in and around Nashville, Tenn., last week's première hour in this seven-part series promised an amiable music-cum-open-air aimlessness-Mel Tillis grinning through Neon Rose at the bar of Tootsie's Orchid Lounge, 91-year-old Uncle Pete Pillington picking his banjo on his front porch, the Statler Brothers singing dauntlessly in the driving Tennessee rain. Country music fans will probably find the pop-crossover material impure, but if the appealing mood-and the lineup...
...moment of intensive, moving theatricality-the visual and emotional high point of John Cranko's Traces, which was given its American première last week at Manhattan's Metropolitan Opera House by the magnificent Stuttgart Ballet. Traces is the portrayal of a woman who has escaped from totalitarian horrors but has yet to come to terms with those past agonies. Her present is visualized by some amiable bourgeois friends and a courtly but uncomprehending lover (Heinz Clauss...
Traces grandly illustrates one particular strength of Cranko's inventive -sometimes too inventive-choreography: his gift for narration and characterization. He may, in fact, be ballet's finest storyteller. Two other Cranko works, which had their U.S. premières last week-and which will be repeated later during the Stuttgart Company's six-week American tour-displayed, in varying degrees, his flair for abstract dance...