Word: theater
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Dates: during 1960-1969
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...further dilutes them with a few primitive racial clichés. Veteran Comedienne Molly Picon clucks and coos authentically, but Bubi, her baby, is, of all people, hulking Negro Comic Godfrey Cambridge wearing little-boy clothes (brought in, he says, because "there aren't too many Negro theater parties"). Some things in the book did strike home, yet Seymour Vall's two-character revue is nothing but the schlock of recognition...
...assassinated. The coat came to Mrs. Smith via her grandfather, a White House doorkeeper who was given the clothes by Mary Todd Lincoln. Though the bidding is open to everyone, the National Park Service lusts for the frock coat for its Lincoln Museum in Washington's restored Ford Theater. Would the original maker of the suit like to buy it back for the nation? "We felt," replied a store executive, "that $50,000 was too high a price even for a Lincoln-owned Brooks Brothers suit...
...ensemble is more than just a theater. Its home, in a nondescript 3½-story building on Manhattan's Lower East Side, is a honeycomb of workshops intended to serve both experienced and fledgling actors, and would-be playwrights and directors. The goal of the ensemble's activity is to speak to Negro audiences in a Negro idiom about the Negro situation-even at the risk of encouraging a kind of cultural separatism. "We've been very loose as far as ideological manifestoes go," says Ward, "but we are Negro oriented and we don't apologize...
...artfully professional new repertory group has now joined the U.S. theater: the Negro Ensemble Company. Supple in motion, stoic in grief, satiric in temper, the all-Negro cast (five men, four women) turns Song of the Lusitanian Bogey, an atrabilious Peter Weiss tract on the evils of Portuguese colonialism, into a mimetic dance of pain, fury, death and anticipatory joy. For a troupe in its infancy, opening night at Manhattan's St. Mark's Playhouse off Broadway marked a large stride toward the dream of Co-Founder Robert Hooks (Hallelujah, Baby!): "If in ten years we can compete...
...plays have taken his death badly. The scenes creak at the joints. The wit sputters more often than it fizzes. The characters seem alive from the neck up only. St. Joan has not been spared. In a conscientious but lethargic revival at Manhattan's Lincoln Center Repertory Theater, the play drones on like a college seminar labeled "The Protestant Ethic and the Spirit of Nationalism, 1412-1431." In the title role, Diana Sands is earth-bound but never God-intoxicated, more of a common scold than an uncommon saint...