Word: shipboard
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...astronauts were not given much chance to talk, their doctors had no hesitation about speaking out. After completing preliminary shipboard medical examinations, they declared that the trio appeared to be extremely fit-in better shape, in fact, than the returning Skylab 1 astronauts, who were in space only about half as long. The prolonged exposure to zero gravity did take its toll...
Eight of the 14 stories in The Life to Come are the survivors of these purges. They deal with such things as the seduction of a provincial couple by two sailors, a brief homosexual idyl between a middle-aged businessman and a milkman, and an East-meets-West shipboard disaster involving a half-caste and a British officer that ends in murder and suicide. Forster being Forster, these goings on are handled better than anyone could hope...
...Gutnick last winter boarded a 125,000-ton tanker to give RAG1 a practical test. Selecting two of the ship's tanks, which were each filled with 100 tons of sea water, they poured 55 lbs. of nitrogen-containing urea and 2.2 lbs. of potassium phosphates into each. Shipboard compressors were used to bubble air into the tanks through a perforated hose, thus turning them into ideal "bacterial fermenters," says Rosenberg. Then a flaskful of RAG1 bacteria was poured into one tank. Six and a half days later, the tanker discharged its ballast. The unbugged tank emitted an ugly...
...Poseidon's passenger list is a manifest of stereotypes, her cargo clichés. The hero is Reverend Frank Scott (Gene Hackman), a sort of seagoing Malcolm Boyd who exhorts his shipboard congregation to "have the guts to fight for yourself-God loves brave souls." Also among the survivors are a beefy cop (Ernest Borgnine) and his new wife, a reformed whore (Stella Stevens); a teen-age girl (Pamela Sue Martin) and her obnoxious little brother (Eric Shea); an aging Jewish couple (Shelley Winters and Jack Albertson) en route to the holy land; a timid haberdasher (Red Buttons...
...irritating thing is that the devisers of this production do not leave Weill enough alone. Arbitrarily, the show has a shipboard setting, and a tedious commentator. Donald Saddler has staged the numbers as if they were supper-club turns. The cast has fine voices, but the collective air of bouncy innocence somehow belies what is worldly, skeptical and melancholy in Weill's mental tone. This is Weill without tears, and it misses the distilled suffering that makes some of his music so affecting...