Viewing page 5 of 37
It looks like you're using a mobile device. We recommend using a physical keyboard for transcription entry.
[[advertisement]] Put winter in its place. Put the cold and gloom far behind you. Eastern's got an exclusive Second Vacation Bonus that gets you 8 days/7 nights at luxury hotels in Florida, the Bahamas or the Caribbean. Then a bonus 4-day/3-night vacation to enjoy between May 1 and Dec. 15, 1977. Stay at the same hotel or another participating hotel. All you pay for is your Eastern ticket. For example: Take 8 days/7 nights at the El San Juan Hotel in Puerto Rico. Includes admission to Folkloric Ballet, greens fees at selected courses, Light & Sound spectacle, and more. $432-$474* including airfare. Or enjoy 8 days/7 nights at Miami Beach's Fontainebleau Hotel. $424-$466* including airfare. Later enjoy your 4-day/3-night bonus at either hotel or others in Florida, Freeport or the Caribbean. See your travel agent for details. Or call Eastern at 986-5000 in New York or 621-2121 in Newark. We've got the right time and the right place for you. Take 8 days now. Get 4 bonus days later. [[image - Eastern Airlines logo]] EASTERN THE WINGS OF MAN We've got your sunshine [[image - color photograph a family on boat]] *There are advance reservation and purchase requirements and restrictions on travel and hotel availability. Seats are limited. Prices are per person, based on double occupancy and don't include meals, taxes or transfers unless indicated. Minimum price in Puerto Rico not available during certain periods. Prices effective 12/18/76-4/14/77. Subject to change. "The Wings of Man" is a registered service mark of Eastern Air Lines, Inc. [[/advertisement]] [[end page]] [[start page]] Nothing was really at stake: only his livelihood. Kamelot said okay, but the guy's opponent complained, then accepted and came 15 minutes after he'd promised. The match ended in the third set when the first actor had to leave for the studio - marking the first time in tournament history that a match was defaulted on account of an audition. (Not that there weren't other defaults. Murray Schisgal once had to default his match with Jack Gelber because of poison ivy.) The Broadway tennis tournament did not take place in 1976. Kamlot, who always managed to lose money on each tournament, couldn't come to terms with the racquet club at which the event had been held. With no place to play, he was forced to cancel it. With plenty of regrets. "It was a lot of work for Jane and me," concedes Kamlot, "But so many people really enjoyed it. It's not dead yet. In the back of my mind I have this fantasy of an East versus West celebrity tournament - Broadway players against the West Coast players. I think it's the kind of thing that would create a lot of interest - maybe even some television coverage." Sounds interesting enough. Then again, who's to say that if such an event does take place that the Broadway celebrity tennis scene might not lose its friendly, relaxed quality and start to take on elements of the West Coast celebrity tennis scene. It's terribly unlikely, but just imagine how upset I'd be if one day I met Philip Rose on the street and asked him if I might fill in sometime in his foursome in New Jersey, and he replied: "Gee, Barry. That sounds like a great idea. Why don't you call up my secretary and arrange for an audition?" [[image - black & white photograph]] [[caption]] Playing to the crowds: John Cullum.[[/caption]] [[image - black & white photograph]] [[caption]] Producer Philip Rose. His wife, Doris Belack. [[/caption]] [[image - black & white photograph]] [[caption]] Playwrights: Jack Gelber, Murray Schisgal. [[/caption]] [[image - black & white photograph]] [[caption]] Doubles: Eli Wallach and Jacqueline Brookes [[/caption]]
Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research. For questions or comments regarding sensitive content, access, and use related to this collection, please contact email@example.com.