Word: staging
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Dates: during 1970-1970
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Long before Chancellor Willy Brandt began bidding for closer political ties with Communist Eastern Europe, West German Economics Minister Karl Schiller was pursuing a business Ostpolitik. Unlike Brandt's diplomacy, which is still in the negotiating stage, it has already produced a solid success. Last week in the Krupp company town of Essen, Schiller and Soviet Foreign Trade Minister Nikolai Patolichev toasted each other with Kupferberg Furst Bismarck champagne after signing what may be the biggest trade deal ever between the U.S.S.R. and a Western nation...
...service comedy. Blood, Sweat and Stanley Poole. Mr. Poole was no Mr. Roberts, but Peter was called another Henry, and it bugged him. "I can hear them in the front row," he griped. " 'It's your old man all over again.' " By the time Peter had made it on stage, his sister was swinging in Hollywood. The sibling revelry turned into solo performances. "It was a time when we weren't very close," recalls Jane...
...evocative tribute to a corner of his own past. Who Cares?, which was given its world premiere by the New York City Ballet last week, is a nostalgic, gently ironic reminder that "Mr. B." spent a few lean years in the '30s as a creator of dance for stage musicals. In Slaughter on Tenth Avenue, which he designed for the 1936 Rodgers and Hart hit, On Your Toes, Balanchine brought a touch of ballet to Broadway. Who Cares? brings back a little bit of old Broadway to ballet...
...Rhythm, have so far been orchestrated for a brassy pit band. The rest of the evening the dancers were accompanied by Pianist Gordon Boelzner, plunking away in imitation of Gershwin's strutting, rag-timey style. (In one number, Clap Yo' Hands, the dancers prance across the stage to the sound of Gershwin's own piano playing, recorded in 1926 and raspily reproduced on tape.) The solo piano is pure serendipity-suggesting the feverish, will-the-show-go-on mood of a storybook Great White Way that never...
...MOLLY MAGUIRES has all the technical magnificence of the biggest Hollywood productions. Some 200 tons of anthracite coal were shipped from Mahoney, Pennsylvania to the studio in Hollywood for a coal wall. Paramount Studios built the longest interior setting ever constructed on a Hollywood sound stage to simulate the interior of the coal mine. With a passion for realistic detail Ritt shot the film in a coal town in Eckley, Pennsylvania. All the homes in the town were repainted slate gray, the color of coal dust, giving a sense of the misery of the time...