Word: playwrights
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Dates: during 1970-1979
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DIED. Preston Jones, 43, late-blooming playwright widely hailed in 1976 for A Texas Trilogy, his saga of life in a one-horse West Texas town; following surgery for ulcers; in Dallas. Born in Albuquerque, big, burly Jones spent the last half of his life in Texas, working as a director, ticket taker and lead actor at Paul Baker's Dallas Theater Center, where his wife Mary Sue is second in command. Almost 40 when he finished his three plays set in mythical Bradleyville, Jones was discovered by Tennessee Williams' agent, Audrey Wood, who arranged for a Washington...
...personal level. Last year the director of Broadway's Pacific Overtures ran a three part seminar with 15 students interested in drama. Students saw the play worked through its various stages, and participated on discussions with the director about the changes. This year, the program will bring playwright Arthur Miller and musician Jonnie Green to Harvard, among others...
Curiously, British Playwright Tom Stoppard has used the same metaphor to make essentially the same point in his Every Good Boy Deserves Favour (1977), a 70-minute theater piece for actors and orchestra. Stoppard enlivened his schematic political lesson with wit, and so, at times, does Fellini. In the film's first half, a visiting TV documentary team interviews the musicians and gets a lively response. A flutist turns a cartwheel. A drummer attacks the piano as a "chatterbox." An insomniac trumpeter confides that with his instrument, "a clinker is death." Once anarchy takes hold, however, the idiosyncratic individuals...
Another word for it is nihilistic. It was brilliant to assign Norman Mailer to cover the 1964 political conventions; it was sick to have 1968 covered by the French Playwright Jean Genet, Novelist William Burroughs (Naked Lunch) and Beat Poet Allen Ginsberg. That same nihilistic strain infected the magazine's outworn Dubious Achievement Awards, apparently meant for readers of Mad magazine who had aged but not grown...
...times he fails to heed the pronunciation required by the verse [exTIRpate, wronged, solEMnized]. His lengthy narration at the start is too slow, and his famous "revels now are ended" speech lacks sufficient musicality. He is much better in the abjuration soliloquy--which many have thought to be the playwright's own valedictory, although Shakespeare went on to collaborate on Henry VIII, The Two Noble Kinsmen, the lost Cardenio, and perhaps Sir Thomas More. Haigh has a long way to go before he matches Carnovsky's 1960 Prospero...