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...gift and a boffo theatrical sense, made the French comic opera of his time into the granddaddy of today's musical comedy. In Orpheus, his first big success, he took what were then scandalous liberties with the Greek legend in order to parody Gluck's opera Orfeo et Euridice, to spoof solemn antiquity worship, and to satirize the manners and morals of the Second Empire under Napoleon III. His fiddle-playing Orpheus is glad to be rid of the unfaithful Eurydice until a character called Public Opinion forces him to complain to Jupiter. The gods, bored with ambrosia...

Author: /time Magazine | Title: Festivals: Camping on Olympus | 6/9/1967 | See Source »

...Ballou, makes his players move with galvanic gestures and broad grimaces that would be too gross for a marionette show. Moreover, the script's idea of wit consists of having George Maharis, as one of the bums, end most of his sentences in the same way: "Bam! Et cetera." "We're all in this together. Et cetera...

Author: /time Magazine | Title: Cinema: Homemade Bomb | 5/26/1967 | See Source »

...Happening bears all the errmarks of the amateur effort. Yet the man responsible is Sam Spiegel, producer of such impressive hits as Lawrence of Arabia and Bridge on the River Kwai -both overseas productions. The Happening is a homemade bomb. Next time, Spiegel should reapply for foreign aid. Et cetera...

Author: /time Magazine | Title: Cinema: Homemade Bomb | 5/26/1967 | See Source »

...little investors into their operations. In France, the Rothschild Bank chose its 150th anniversary to announce that Messieurs de Rothschild Freres, as the bank is formally known, is expanding from investment banking into a commercial bank serving smaller depositors. And in Belgium, the huge chemical company of Solvay et Cie. held a meeting at which 1,800 family "partners" discussed increasing Solvay's capital by selling shares to the European public...

Author: /time Magazine | Title: Corporate Finance: Tapping the Rivulets | 5/5/1967 | See Source »

...Winthrop House, Burnering has been given an exciting, if not-so-well acted, production. Most House shows try to disguise what they are by converting dining rooms, junior common rooms et al. into ordinary theatres or close approximations thereof. Kay Bourne, the director of Burnering, uses a wood-panelled junior common wall for a backdrop, windows for entrances and exits, and a simple platform stage. Through imaginative, deliberate use of lighting, Miss Picker's hour long play is staged without interruption and with only...

Author: By James Lardner, | Title: Burnering | 5/5/1967 | See Source »

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