Word: tempests
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Dates: during 1950-1959
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...Peter Gunn (27.8), Real McCoys (27.5), Rifleman (27.5), The Price Is Right (27.4), Want-ed-Dead or Alive (27.3), Alfred Hitchcock Presents (27.1), Father Knows Best (27.0), General Electric Theatre (26.6), Texan (26.4), Maverick (26.3). Of the top 20, CBS has 11, ABC five, NBC four. ¶ Commanding a tempest to rage in a tank at Hollywood's Television City, Director John Frankenheimer filmed a ferocious facsimile of the flooding Mississippi River for this week's TV version (Playhouse 90) of William Faulkner's novelette Old Man. The story hurls a convict (Sterling Hayden) into...
Tales and Last Tales (TIME, Nov. 4). In Babette's Feast, a French cook wins a small fortune in a lottery and spends every penny of it showing her staid, stingy Norse employers what a real meal can be. In Tempests, the actress who is to play Ariel in The Tempest gets caught in a real storm at sea and becomes a heroine by behaving as Shakespeare has taught her to behave...
...called, "magic" or otherwise, and a crowd of abstractionists, enchanted or unenchanted in like fashion. There would be the hawkers of social reform, the psychological brooders, those of the dark palettes, and so forth. In short, there would be a pot-pourri of most everything. Feininger invariably survived the tempest as one of the few who indeed justified it. Those interested parties among us who eagerly engage the democratic process in support of the muse usually wind up attempting to lift a few aristocrats from the debris. Lyonel Feininger was always one of the aristocrats...
...standards was countenanced. And the HTW proceeded to give a remarkable series of productions, including Shakespeare's Henry IV, 1 (with Kilty as Falstaff, a performance that no-one but Kilty himself has since equaled), Richard II (with a wardrobe of costumes costing $1600), Troilus and Cressida, and The Tempest...
...Winter's Tale, which the Stratford Festival has chosen as its third item in this year's repertory, presents special problems. Unlike The Tempest, it violates the unities of time and place, with a gap of 16 years in the middle. Before the gap, the play is unrelieved tragedy; after the gap, it is mostly pastoral romance. For this reason the more superficial commentators have regarded Tale as two plays. It is one play, however; and this production, under the combined direction of John Houseman and Jack Landau, preserves its oneness successfully...