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Word: kanter (lookup in dictionary) (lookup stats)
Dates: during 1970-1979
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Usage:

Brando himself. Brando had been the key to the film because his magic name had brought in other stars and, more important, other investors. But now, reported one of his friends, Agent Jay Kanter, Brando felt he should play Jor-El "like a green suitcase." "A green suitcase?" asked Donner. "Yes," said the friend. "Marlon wants to put a green suitcase on the sound stage and let his voice come...

Author: /time Magazine | Title: Show Business: Here Comes Superman!!! | 11/27/1978 | See Source »

...Morton Kanter...

Author: /time Magazine | Title: Forum, Nov. 1, 1976 | 11/1/1976 | See Source »

With the help of his set designer and choreographers, director Ken Kanter has made everything go. It seems incredible that the handkerchief stage of Leverett should represent a steamship, but Michael Herter's set offers Cunard luxury -- a gangway, two decks, three staterooms. The direction of Kanter and his choreographers -- Michael Ricardo, Lise Landis and Michael Collapy -- creates out of the small cast the impression of an extravaganza; their next goal should be precision...

Author: By Deborah A. Coleman, | Title: It's Delovely | 4/20/1973 | See Source »

...adept burlesque performances of several cast members make the show. Though not the evening's best, Kenneth Kanter's Pseudolus is engagingly energetic. With girth rivalling that of the man who made the part famous, he successfully imitates some of Zero Mostel's protean expressions and lascivious gestures. He does not do as well vocally. As the starry-eyed lovers, John Lundeen and Lisa Landis--he callow, she nubile--are, appropriately, vacuously charming. But the real delight comes from the supporting cast. In the role of chief slave, Hysterium, at the beleagured household, Thomas Hann clowns in an epicene manner...

Author: By Elizabeth Samuels, | Title: A Funny Thing... | 4/22/1972 | See Source »

...nice, modest ballet by Debbie Coleman). The new Leverett House Old Library Theater, with its small scale and wood panelling, is quite cozy--one enters through the stage, which is attractively cluttered with Jack Hanick's set: bright, upended trapezoid canvases lining the staircases and covering exits. And Ken Kanter has done an efficient, unpretentious job of moving the actors on that stage. His is an "amateur" production in the best sense: everyone in it seems to be having a good time, and the warmth comes across. At times, in fact, the melodies (not the lyrics) and the general good...

Author: By Michael Sragow, | Title: The Roar of the Greasepaint | 10/28/1971 | See Source »

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