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...Wonderful World of the Brothers Grimm. "The answer to television!" So they said when Cinerama was first shown to the public in 1952, and for a couple of years praise was supported by performance: This Is Cinerama, the first full-length picture produced in the medium, has grossed more than $26 million. But the novelty soon wore off. For one thing, the customers were obviously irritated by the imperfections of the Cinerama process: the fuzzy vertical lines between the three panels of the picture; the jiggling of the panels and their variations of color and brightness; a degree of distortion...
...with big names: Laurence Harvey, Claire Bloom, Buddy Hackett, Terry-Thomas, Yvette Mimieux, Russ Tamblyn, half a dozen others. The show offers also an album of snapshots, each one approximately the size of Liechtenstein, that dramatically itemize South Germany. And it offers, inserted at intervals in the story, three full-length fairy tales (The Dancing Princess, The Cobbler and the Elves, The Singing Bone], of which the last is wacky enough to make up for not being Grimm-it stars Terry-Thomas as a sort of dilapidated Lancelot, Hackett as his squirrely squire, and a 53-foot, kelly-green dragon...
From New Orleans, he submitted four full-length plays and a batch of one-acters to a New York contest being judged by Harold Clurman, Irwin Shaw and Molly Day Thatcher (Mrs. Elia Kazan). Then he headed for California in a 1934. Ford owned by a clarinet player named James Parrott. It was a Kerouwacky rhapsody of the road. They siphoned...
...Burned-Up Audience. In a little more than a year, a full-length Williams play, Battle of Angels, opened in Boston. For a third-act climax, a zealous stagehand had overstocked his smudge pots to simulate a stage fire, and smoke billowed out over the footlights to choke the audience-but it hardly mattered; they were already burned up. The Theatre Guild, which had produced Battle, shot off an unprecedented letter of apology to its subscribers and closed the play. In the next four years, Williams collected the job labels that are pasted on the luggage of itinerant U.S. writers...
This scene from a full-length play, The Private Life of the Master Race, is a tessera in a jeweled mosaic arranged from the poems, songs, plays, letters and aphorisms of one of the 20th century's most remarkable playwrights, the late Bertolt Brecht. Put together with artful concern by George Tabori, perceptively directed by Gene Frankel, and acted with selfless intensity by a cast of six, Brecht on Brecht is an arresting example of offbeat off-Broadway. Close to stage rear, a portrait of Brecht peers out at the audience, eyes wily and skeptical, lips sealed...