By Thomas S. Hischak

Quantity 4 of the prestigious American Theatre: A Chronicle of Comedy and Drama sequence deals a radical, candid, and engaging examine the theater in long island over the past a long time of the 20 th century.

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Extra resources for American Theatre: A Chronicle of Comedy and Drama, 1969-2000

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Rochelle Owens, a distinctive voice in radical 1960s theatre, was already becoming somewhat passe´, and her Istanboul (2-8-71, Actors’ Playhouse) only ran a week. The ritualistic play was ostensibly about the escapades, mostly sexual, of European knights in Constantinople during the 28 Act One, 1969–1975: Getting Through by the Skin of Our Teeth JOHN GUARE (1938– ) was born in New York City, the son of a Wall Streeter and the nephew of a Hollywood casting director. A product of Catholic schools, he went on to receive degrees from Georgetown University and Yale, where his first short plays were produced.

Dysart) and his wife, Claire (Mildred Dunnock), have murdered their housekeeper and are being questioned by an authority figure (Alvin Epstein). Although based on an actual murder in France four years earlier, the drama concentrated on lengthy stream-of-consciousness soliloquies by the two prisoners. ” A French version, produced by Le Tre´teau de Paris under its original title L’Amante anglaise, opened at the Barbizon Plaza on April 14 and ran two weeks. The season’s second Hamlet, a touring import from England that played eight performances beginning on December 26 at Hunter College, was directed by Jonathan Miller with a cast of Oxford and Cambridge students.

The play did receive the Drama Critics Circle Award, and Guernsey begrudgingly named it one of the Best Plays. The limited eight-week engagement was a highlight of the season and sold very well. A German ensemble from Munich called Die Briicke (The Bridge) opened a two-play repertory in German at the Barbizon Plaza on November 17. The Molie`re-von Kleist Amphitryon led the one-week engagement, followed by a program consisting of Tankred Dorst’s The Curve and Brecht’s The Wedding Feast. A harmless little comedy by Mel Arrighi called The Castro Complex (11-18-70, Stairway) opened the next night in the basement space of the Paramount Hotel that had gone by various names over the years, now called the Stairway.

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