Word: robin
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...show) could be mutually damaging. Moreover, ABC seems to be violating a basic tenet of TV-that viewers are creatures of habit. The competition from NBC's Johnny Carson and CBS's late movies promises to be at least as formidable for the network's round robin as it was for Cavett alone...
...fashion photographer called Painter is rerouting all the Mafia's heroin traffic through his own hands. Johnson and the Digger are on to him pretty early in the game, but they cannot make a move because every citizen above 110th Street regards Painter as some kind of black Robin Hood. The movie comes unhinged occasionally, especially in sequences that borrow liberally from such diverse sources as Public Enemy and The French Connection; but Cambridge and St. Jacques, two resourceful performers, are always on hand to snap things back into perspective...
Thus, it was quite a fair shake, and welcome slake to my bear thirst, to see the Harvard Yard Players' production of "Winnie-the-Pooh." Lehman Hall turned into a huge livingroom, and Pooh and friends entered when Milne began telling a story for Christopher Robin. The atmosphere was warm and informal, because there was no stage to separate the actors from the first ring of children seated on the floor. This close range prompted almost spontaneous audience participation. The actors introduced themselves in individual conversations with the children, shook hands, danced and even had two of the children help...
Still, Kahn deserves high marks for trying to unify the two works. Both productions use the same basic raked stage, designed by Robin Wagner, and the Roman scenes in Antony enjoy the same upstage set as many of those in Caesar. Jane Greenwood's costumes for the Romans in both plays are the same or similar. And the three important characters who are present in both plays--Antony, Octavious, and Lepidus--have the virtue of being portrayed by the same actors...
...Robin Wagner has well captured the contrast between stern Rome and luxuriant Egypt in his sets; especially striking are the warm golds that adorn Alexandria, and the 15-foot-high double columns that support Cleopatra's monument--all skillfully lit by Marc Weiss. John Morris's music is markedly better than what he provided for Caesar, though it is still a bit obvious in its quasi-exotic effects...