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Rauch: The HRDC open book had a note in it the other day asking why we keep doing experimental crap, why don't we ever do Company or Fiddler on the Roof? What they don't realize is that those shows were incredibly innovative once. I don't want to cling to the innovations of the past; why museumize? It's perfectly fine to do, but it's not the same kind of risk-taking...

Author: By Amy E. Schwartz, | Title: The two masks of Harvard drama | 6/7/1984 | See Source »

...victims were Roman Catholic nuns. The provincial courtroom had a musky, Gabriel Garcia Márquez air. Through swinging saloon doors came and went a family selling sandwiches and coffee to spectators. A group of onlookers stood tiptoe on a junked car just outside-until the rotted car roof gave way. The crowd laughed; when the verdict came at 4 a.m., a man from the U.S. embassy cried happily...

Author: /time Magazine | Title: Salvador's Supersalesman | 6/4/1984 | See Source »

...Said Summers: "I can't tell you." Said the private: "O.K., I'm with you." At the next building, the Americans killed 30 more Germans. Then they found 15 Germans inexplicably eating breakfast and shot them all. At the last building, the support gunner's tracers set the roof on fire, and an additional 30 Germans stumbled out to be shot down...

Author: /time Magazine | Title: D-Day: Every Man Was a Hero A Military Gamble that Shaped History | 5/28/1984 | See Source »

Warring tribesmen had called a tem porary truce in honor of the Pontiff's visit. At Mount Hagen, from an altar covered with a thatched roof and lavishly decorated with hibiscus, orchids, bougainvillea and battle shields, the Pope made a plea for permanent peace to the crowd of almost 130,000. Then he gave Communion to warriors who glistened with pig fat and wore head dresses of black hawk feathers and crimson and golden plumes from the bird of paradise...

Author: /time Magazine | Title: The Pope: Mi Laikim Jon Pol | 5/21/1984 | See Source »

...Street-and of midtown Manhattan in general-was set by brownstones, mansions and beaux-arts commercial buildings. It was a world of rich, plum-pudding surfaces. When MOMA raised its polemic International Style façade of glass and polished marble, with those futuristic Swiss-cheese holes in the roof canopy, it looked apparitional. But now the context has shifted again. Thanks to the competitive urges of developers, the very idea of the glass tower has acquired a bluster it never had before; its epitome is the kind of boy-pharaoh glitziness favored by Donald Trump. One of the problems...

Author: /time Magazine | Title: Art: Revelation on 53rd Street | 5/14/1984 | See Source »

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