Word: arthur
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...classmate, Frederic Hathaway Chase, was "especially impressed by the extent to which the United States has gone towards national socialism," while another, Arthur Hugh Jameson, referring to the Wagner Act, wrote that "a labor dictatorship has been created" and could only hope "that the American people will revert back to the type of their ancestors and recapture that priceless gem of Liberty, which is never appreciated until it is lost...
...Arthur Hochstein (Deputy Art Director); Linda Louise Freeman (Covers); Steve Conley, Jennifer Napoli, Billy Powers, Irene Ramp, Ina Saltz, John F. White (Associate Art Directors); Joseph Aslaender, Nomi Silverman, Kenneth B. Smith (Assistant Art Directors); David Drapkin, Leah M. Purcell (Designers); John P. Dowd (Traffic) Maps and Charts: Joe Lertola (Associate Graphics Director); Paul J. Pugliese (Chief of Cartography); Leslie Dickstein, Steven D. Hart, Nino Telak, Deborah L. Wells Administration: Carrie A. Zimmerman
Other recent limited runs featured Martin Sheen in Arthur Miller's The Crucible, Rob Lowe and Tony Randall in a Feydeau farce (both shows from Randall's new National Actors Theater), Jane Alexander in The Visit and, most opulently, Joan Collins, whose Private Lives ended last week. Says Harvey Sabinson, executive director of the League of American Theaters and Producers: "None of us who have been around a long time can recall a moment when so many major Hollywood stars came to Broadway...
...Arthur Hochstein (Deputy Art Director); Linda Louise Freeman (Covers); Steve Conley, Jennifer Napoli, Billy Powers, Irene Ramp, Ina Saltz, John F. White (Associate Art Directors); Joseph Aslaender, Nomi Silverman, Kenneth B. Smith (Assistant Art Directors); David Drapkin, Leah M. Purcell (Designers); John P. Dowd (Traffic) Maps and Charts: Joe Lertola (Associate Graphics Director); Paul J. Pugliese (Chief of Cartography); Leslie Dickstein, Steven D. Hart, Nino Telak, Deborah L. Wells Administration: Carrie A. Zimmerman
...funny and sadly flawed works by dramatists in their early 30s. One writer -- Howard Korder -- has the slam-bang dialogue and macho preoccupations of a David Mamet in training. The other -- Jon Robin Baitz -- can infuse domestic drama with the burdens of history in the fashion of a budding Arthur Miller. But neither can yet write two cumulative and cohesive acts. In each of their current offerings, one act sings, the other doesn...