Word: stage
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Dates: during 1960-1969
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MARK TWAIN TONIGHT! When Hal Holbrook shuffles off the stage at the end of his one-man show, it is as if one were bidding good night to the incorrigible Clemens himself. An extraordinary physical impersonation and uncanny dramatic recreation of one of Americana's keenest humorists...
...publicly expressed or represented. U.S. audiences seem to have become unshockable. Dramas of incest and homosexuality are commonplace, total (if momentary) nudity has occurred onstage in Marat/Sade and in a "happening" at Manhattan's Judson Memorial Church playhouse, in which a nude couple was seen slowly crossing the stage clasped in each other's arms. As for literature, even though the Supreme Court decision on Publisher Ralph Ginzburg and Eros suggests a reassertion of older standards (TIME, April 1), nearly every drugstore or bookshop is loaded with hard-core pornography, much of it solemnly reviewed by serious critics...
...they sold out to seemed likely to stage an even bigger drama of his own. At 39, Vienna-born Charles G. Bluhdorn is already a millionaire (TIME cover, Dec. 3), has swiftly built his Gulf & Western Industries into a $300 million collection of auto-parts companies. Last week G. & W. moved to add another by a merger with Universal American, which does a $150 million business in tools, auto parts and machinery. Bluhdorn makes no secret of his urge to make Gulf & Western even bigger. As he handed Siegel and Martin a certified check for their $11.8 million, he observed...
...house lights dim, a pit orchestra plunges into the overture, the curtain goes up-and then? Well, what follows cannot be properly called a movie musical. It is a sound-staged version of the London-Broadway musical by Anthony Newley and Leslie Bricusse, reproduced before an audience of attentive cameras. The result might easily be mistaken for a show's out-of-town run-through on a night when most of the original cast have been laid low by a virus; yet the film has a certain economy-style charm and a cheeky spirit of what-the-hell-have...
Confronted by a work that seems rich in cinematic impossibilities, Director Philip Saville audaciously flaunts the problems he cannot solve, often to amusing effect. Rickety scenery, stage lights, characters waiting in the wings are casually made part of the show. Occasionally, though, the camera goes so far as to leave the cinemagoer in limbo while actors turn their backs to acknowledge a theater audience's applause. Even more distracting is the restless search for new camera angles-a sure way to fragmentize those subtle lines of communication that weld the viewer's attention to a stage performer putting...