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...HOMECOMING. Awarded the Tony as the season's best play, Harold Pinter's drama melds the mystique of the surreal with relentless honesty in the examination of interpersonal relationships. Flawlessly performed by the Royal Shakespeare Company, it binds the audience in a puzzled spell while catching it up in heated controversy...

Author: /time Magazine | Title: Television: Apr. 14, 1967 | 4/14/1967 | See Source »

...talented talent scout, even if he couldn't spell very well. "Dear Max," F. Scott Fitzgerald wrote to his editor, Maxwell Perkins, in 1924: "This is to tell you about a young man named Ernest Hemmingway, who lives in Paris & has a brilliant future. Ezra Fount published a collection of his short pieces. I havn't it hear now but its remarkable & I'd look him up right away." Fitzgerald's letter was filed away at Charles Scribner's Sons in Manhattan, along with the publishing house's correspondence with hundreds of other authors...

Author: /time Magazine | Title: People: Apr. 7, 1967 | 4/7/1967 | See Source »

...been shown in virtually every case-and suspected in the others-that she has skipped a pill or two. The failure rate is slightly higher on the sequentials, apparently because the estrogen taken early in the cycle wears off rapidly, and a single day's missed pill may spell pregnancy. The progestin combinations afford a slightly broader margin of safety...

Author: /time Magazine | Title: Contraception: Freedom from Fear | 4/7/1967 | See Source »

...Cathy Come Home, a recent drama about the British housing shortage, so electrified audiences with its high-voltage indictment of bureaucratic bungling that it prompted headline stories in the Times and the Guardian and a political debate. Scolded Opposition Leader Ted Heath: "Government action of the wrong kind can spell out doom for the Cathys of this world...

Author: /time Magazine | Title: Television: This Is The Network That Is | 3/10/1967 | See Source »

...Tchaikovsky Romeo and Juliet fantasy-overture was disappointing despite occasional flashes. Runs which used to spell disaster for the strings were clean, and the horns were the best I've ever heard them. But the performance as a whole was dead; the woodwinds trod on the opening with an expressionless mezzo-forte, one passage of rich string chords was painfully out of tune, and Yannatos' overall interpretation was too straight. He seemed to have little interest in bringing out Tchaikovsky's natural schmaltz. With that sort of attitude, he probably shouldn't have performed Tchaikovsky...

Author: By Robert S. Coren, | Title: HRO | 3/6/1967 | See Source »

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