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different questions. How does the internal intrigue, at any rate, it is hard to find out exactly who is toning which we must assume is standard in all large corpora- down the copy...

Jorge Luis Borges (October 1968)

JORGE LUIS BORGES AN INTERVIEW Often considered the greatest living writer of Spanish prose, Jorge Luis Borges was born in 1899 in Buenos Aires. In reviewing a volume of Borges' "fictions...

THE STAGE: (September 1968)

BREATH SHORTAGE THE STAGE A variety of contretemps kept me from seeing Plaza Suite until now. But I knew that a good thing is worth waiting for, and a bad one can wait, and that a Neil Simon show,...

THE STAGE: (July 1968)

THE STAGE Richard Schechner, professor of drama at N.Y.U. and editor of The Drama Review, has started something called The Performance Group. From his spoken pronuncia-mentos and printed...

THE STAGE: (June 1968)

ALL THE WORLD'S A STY THE STAGE It would, I think, be idle to dispute whether the theater began as word or gesture; the two, ultimately, flourished conjointly and redounded to the theater's glory....

THE STAGE: (June 1968)

THE STAGE It is impossible not to like Frank D. Gilroy. Starting with his one very good failure, Who'll Save the Plowboy?, and continuing with his enormously successful soap opera, The Subject Was...

THE STAGE: (May 1986)

SOLDIER BOYS THE STAGE I was an advocate of The Deputy as Rolf Hochhuth wrote it in German, though not of the execrable Broadway adaptation and production. But to his new play, Soldiers, in any...

THE STAGE: (May 1968)

THE STAGE The Lincoln Center Repertory Company is finishing its commercially most successful season with yet another artistic disaster, a Cyrano de Bergerac that is one of the hundred neediest...

THE STAGE: (May 1968)

THE SELF-TORMENTOR THE STAGE Other dramatists write plays; Tennessee Williams rewrites plays. He does this in two ways. There is hardly a recent full-length drama of his that wasn't first a short...

THE STAGE: (April 1968)

STUDIES IN EVIL THE STAGE In the theater-at least, in the establishment theater -it takes courage to be against ordinary things. Loot, a scrappy little English farce that hits out against...

THE STAGE: (April 1968)

DAPPER GORE THE STAGE Gore Vidal is a reliable farceur. His writing is sophisticated, amoral, reasonably witty, almost as urbane as it thinks itself to be, and should make for an enjoyable evening...

THE STAGE: (March 1968)

THE STAGE "The Trojan War Will Not Take Place," as Tiger at the Gates should be called, is a much maligned play. It should not be translated into English, least of all by Christopher Fry; it should...

THE STAGE (March 1968)

Claude Berri also deserves a hand for his good direction and script. I wish, however, he hadn't made his film quite so episodic, like a series of incidents (some of which are just padding) strung...

THE STAGE (March 1968)

SETTLING THE ACCOUNT • • • • • • • • • • • • • • THE STAGE I would like to be able to like the plays of Arthur Miller. The man is patently honest, dedicated, responsible, and, when talking about...

THE STAGE (February 1968)

THE STAGE Happy Elizabethans! They could suspend their disbelief when Rosalind in boy's clothes fooled Orlando, or Mariana in no clothes passed for Isabella in Angelo's bed. Today, when...

THE STAGE (February 1968)

MORE FROM LONDON THE STAGE Two English imports deserve our interest. The better one of these is Charles Dyer's The Staircase, a play about the prickly domesticity of a homosexual ménage. One of...

THE STAGE (February 1968)

BLACK JOAN • • • • • • • • • • • • • • THE STAGE Lincoln Center Repertory, which is not really a rep, more of a demirep, has come up with Shaw's Saint Joan, one of those great middle-brow...

THE STAGE (January 1968)

• • • • • • • • • • • • • • THE STAGE Next to taking candy from a baby and not helping a blind old lady across the street, knocking a repertory company in America may well be the most heinous...

THE STAGE (January 1968)

ALBEE'S NECROSIS • • • • • • • • • • • • • • THE STAGE Say what you will against Edward Albee's The Zoo Story and Who's Afraid of Virginia Woolf?—and, like me, you can surely say plenty—they...

THE STAGE (December 1967)

YES, MY DARLING DAUGHTER • • • • • • • • • • • • • • THE SCREEN However you may feel about Stanley Kramer's films, you have to admit that this producer often rushes in with timely themes where...

THE STAGE (December 1967)

THE STAGE Aleksei Arbuzov's "The Promise" is a boulevard play. It makes little difference whether the thoroughfare in question is a Parisian grand boulevard; New York's Broadway, that boulevard of...

THE STAGE (December 1967)

MEDIA The amphitheater at the School of Visual Arts in New York City is a bit like a surgical theater—the old nineteenth-century kind that bumbled a mixture of science and showmanship and was...

THE STAGE (December 1967)

THE STAGE Lillian Hellman enjoys the reputation of a major American playwright, and the current revival of "The Little Foxes" should make everyone wonder why. It is easy enough to find a place in...

THE STAGE (November 1967)

'WHO'S ON FIRST?' THE STAGE Any play that comes to us transatlantically trumpeted as does "Rosencrantz and Guildenstern Are Dead" has, as it were, two sennets against it. We would not be so hungry...

THE STAGE (October 1967)

PINTER, ROY SOPRANO Cornell University Press Announces the publication of the second book in a unique series on 1121Sh apt &y fRancoise henRy "the undisputed authority on this...

THE STAGE (September 1965)

garden ceremony the Washington Post wrote in its most imperious editorial manner: "The President did well in prolonging the life of the Disarmament Agency. Now it's up to the agency's officials...

Simon, John-Mary

Simon, Linda

Simon, Paul

Simon, Pierre-Henri

Simon, Undo

Simon, William E. Jr.

Simon, Yves R.

Simona, C. A.

Simons, Bishop Francis

Simons, Ellen Louise

Simons, Father John W.

Simons, Francis