Word: showing
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Dates: during 1960-1969
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When it opened at the Yale Drama School last year (TIME, Dec. 15), the play showed itself to be an anemic polemic against the war in Viet Nam, with little wit and less sting. Playwright Joseph Heller, of Catch-22 fame, has since cut and word-fiddled, but the show is basically the same on Broadway, only worse. In New Haven, the love-affair subplot was handled by Stacy Keach and Estelle Parsons. Keach looked virile and hungry, and Parsons had the amiably battered pliancy of a girl who knows she isn't getting any younger. As a result...
...controlling layout? Such radical conditions prevail at Le Figaro, France's leading conservative newspaper. Its 250 reporters, columnists and sub-editors have long enjoyed these prerogatives under a special agreement with the paper's owners. But now, management wants to reassert its right to manage. To show just how they felt about that idea, Figaro's staff last week staged a one-day strike...
Welcome Question. "The thing I admire about politicians," says Frye, "is their magnificent ability to be asked questions on TV before millions of viewers and then to so obviously skirt the issues. Nixon doesn't really dart his eyes about, but I do it to show the way his mind is working. Imagine him being asked his views about NATO." Abruptly Frye's voice drops into the familiar singsong baritone, and his arms flop up and down like a marionette's: "I'm glad you asked me that question. I'll tell you exactly what...
Mixed Clips. By themselves, Frye's monologues are only passingly humorous. But, seemingly coming from the very mouths of his characters, they take on a kind of ear-twitching incongruity that can make every utterance hilarious. On Johnny Carson's Tonight Show, Frye convulsed the audience by dubbing mixed-up voices onto the sound track of various film clips: one moment, Lyndon Johnson was on the screen speaking in the gravelly voice of Nelson Rockefeller; the next, Humphrey was speechifying in the rumbling tones of Everett Dirksen...
Idyllic Suburb. Those advertisers who have crossed the color line are now confronted with a new problem: how to portray the Negro. Self-conscious to a fault, integrated commercials never show a Negro as a heavy or in a menial position. Nor are blacks ever afflicted with bad breath or body odor. Kool cigarettes, for example, casts a Negro actor as a bright young trial lawyer; Viceroy casts another as a bright young stockbroker. Schaefer beer has a junior executive type who plays hand ball at the club with a white friend, who throws his arm around his shoulder...