Word: tinning
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Dates: during 1950-1959
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...timber merchant; H. J. Peerani, the baker; Mohanlal, the tailor. In Northern Rhodesia and Nyasaland, the Indians are called Banyans, and elsewhere whatever the African wants to buy-a bolt of cotton, a kerosene lamp, a bicycle-it is almost invariably an Indian dukah wallah in a filthy, tin-roofed shop that sells to him. In Kenya, Asians pay one-third of the colony's indirect taxes and run some of Nairobi's smartest shops; in Zanzibar they control the clove market; in Tanganyika they dominate the economy. In Uganda, where before the war Indians were responsible...
...There's no reason why realism shouldn't be poetic in its effect... But now that Kazan is beginning to impose on realistic plays like Sweet Bird and Cat [on a Hot Tin Roof] an operatic style, I think it's dangerous and forced." The mainstream of American drama ("I hate to use phrases like 'mainstream,'" says Tynan) has to do with "observable reality. I think--let's be frank--that Kazan has moved too far away from that without the moral or social realities that are necessary to sustain it. Even in a play like Our Town ... the performances...
Born. To Joanne Woodward, 29, Hollywood's 1957 Oscar-winning "best actress" (Three Faces of Eve), and Paul Newman, 34, actor of stage (Sweet Bird of Youth) and screen (Cat on a Hot Tin Roof): their first child, a daughter (he has three children by an earlier marriage) ; in Manhattan. Name: Elinor Theresa...
...herself has been known to relax with a drink on occasion, but, said she: "Nobody has ever accused me of drunkenness on the stage." A veteran of the "virus escape" in past shows (Bus Stop, A Clearing in the Woods and the London production of Cat on a Hot Tin Roof), Kim missed 31 Poet performances because of illness. But with Kim gone, the situation showed no signs of calming down. When her part was offered to Understudy Malone on a permanent basis, Nancy Malone asked for $500 a week. (Kim Stanley had got at least $1,500.) Producer Whitehead...
...about Salemme's art is that it appears to be abstract and is not. He was a figurative painter, working with multihued geometric figures of his own invention and picturing them, precisely arranged, on vacuum-cleaned stage sets. His figures seem about to spring into action, like the Tin Woodman of Oz. They could not look more mute; yet they speak of the human condition. Vintage of Uncertainties cruelly evokes the uncertain aspects of motherhood. The Oracle delicately poses a horrendous question: Which is the Oracle? Who is to be believed...