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Behind the swirl of projections, ideas, opinions, and hopes, one sure fact stands: the Loeb Drama Center is finished and has begun operating. Probably there never will be a definition of its place in Harvard drama, and this is perhaps a good thing. Questions such as the choice between "audience plays" or artistic plays, professionalism vs. amateurism, and whether the theatre ought to educate or thrill, have a way of remaining un-answered, and as long as these questions are hotly debated, no one need worry about the health of drama at Haarvard...

Author: NO WRITER ATTRIBUTED | Title: The Play's Not the Thing | 10/14/1960 | See Source »

...glistening new white Fords, Falcons and Thunderbirds, 115 new trucks and one bright red-and-white fire engine. At exactly 10:23 one morning last week Flora residents sprinted across the stubble in a Midwestern version of the Le Mans start, hopped into the new cars, and amid a swirl of dust drove them to their homes...

Author: /time Magazine | Title: AUTOS: Models, Models, Models | 10/3/1960 | See Source »

...worriers, none wrote a gloomier lead than the New York Times's Washington Bureau Chief James Reston. Said Reston, sounding somewhat like Gabriel Heatter: "This was a sad and perplexed capital tonight, caught in a swirl of charges of clumsy administration, bad judgment and bad faith...

Author: /time Magazine | Title: The Press: The Press & the U-2 | 5/23/1960 | See Source »

...Soap in Her Eyes. He did Three Caryatids Without a Portico, a Water Carrier with a pitcher for a head ("Just a jughead, I guess"), and "a vase that takes its head off." Hugo Robus' figures have a fluid charm that makes them bend to unheard melodies and swirl to soundless rhythms. But only in the last five years have these figures brought him enough to live on, and the Whitney show is the biggest one he has ever had. "My wife," he muses, "would have loved this show...

Author: /time Magazine | Title: Art: True to Life | 5/23/1960 | See Source »

...cradle of streamers, their movements as intricate and precise as the shuttling of a power loom. Then the story moves on to the Persian court, and the rest of the ballet is merely a "court entertainment,'' a kind of Balanchine variety show. In a swirl of color, foreign visitors to the court strut the stage dressed in everything from the gaudily feathered headdress of West Indians to the pink and gold garb of Eastern potentates. Highlights of the evening: a fluently elegant pas de deux between Jacques d'Amboise and Melissa Hayden, and a rousing Scottish number...

Author: /time Magazine | Title: Music: The Rug in the Icebox | 4/25/1960 | See Source »

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