Word: theater
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Dates: during 1960-1969
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...revival of King Lear that is by far the best work that the Lincoln Center Repertory Theater has ever offered, Lee J. Cobb gives the finest performance of a lengthy and distinguished acting career. A graduate of the militantly proletarian Group Theater of the late '30s, he was the quintessential Willy Loman in Broadway's first production of Death of a Salesman. Conventionally cast as a Hollywood heavy in many of his countless films (among them: Thieves' Highway, On the Waterfront), he almost invariably brought glimmerings of insight to even the most routine parts...
...symphony orchestra, a museum of fine arts, a municipal opera company or a repertory theater group, you have a problem: fund raising. An increasingly popular three-step solution, is to: 1) gang up with all the other local cultural organizations under one catchy acronym, 2) persuade people and companies to donate tax-deductible goods and services - the more wildly improbable the better, and 3) auction them off at a fancy benefit party, making sure that there is plenty to drink to keep the bidding spirited...
Jean-Luc Godard once dedicated a film to him. London's National Film Theater has held a retrospective season of his work. Critics have ranked him with Hawks and Hitchcock for his economic style and strong sense of form. Yet to the average moviegoer, the name of Director Donald Siegel means no more than the brand of popcorn on sale in the lobby...
Before he was out of diapers, then, there existed in full force the family cross-tensions that were to help make O'Neill the blackest of black Irishmen. A nanny with Gothic tastes in murder stories and a puritanical Catholic schooling-the nuns frowned on the theater- were hardly needed to complete the job. Before he was 15, young Eugene had cut himself off from his church, but not from his sense of damnation. "I Myself am Heav'n and Hell" was his new credo. He had become the most savage of insurrectionists: the rebel with...
Writing-like the sea-may have given O'Neill a vacation from the kind of dry-land actuality he hated. But by 1920, where Sheaffer ends the first volume, both O'Neill and the American theater were about to come of age, and it had become obvious that the make-believe of drama was where O'Neill most truly engaged life. "Resentful against God, resentful against family, resentful, resentful," as a Harvard classmate described him, he crossed in the right direction the thin line that separates self-pity from pity and hate from love, making a tentative...