![]() Villarejo’s name had been circulating in the Spanish press for years. It was never released by the Ministry of Information, as. 3, 2017, and the target was José Manuel Villarejo Pérez, a former government spy. In 1961, Arkin was only beginning to show the world how many ways there were to delineate the human condition, one pickle, one conundrum and one exquisite performance at a time. This iconic poster now familiar to many viewers, was originally nearly lost. He was creating something new, as new and fresh and carefully observed as Nichols or May. Most obviously, from the vantage point of this week: Alan Arkin was damn well up to just about anything. Keep Calm and Carry On ('Tenha calma e siga em frente', em tradução livre) é um cartaz motivacional, de criador desconhecido, produzido pelo Governo do Reino Unido em 1939 durante o início da Segunda Guerra Mundial para ser usado somente se os alemães conseguissem invadir a Inglaterra. Yes, well, Chapman was wrong on several counts with that one, whatever the show’s merits or problems. At the time, critic John Chapman wrote: “True satire is not poking cheerful fun at something … it must be wicked, cruel, destructive criticism, and these nice young people from Chicago aren’t up to it.” ![]() That sort of lightning doesn’t strike twice. ![]() That same year, Arkin and others tried Broadway with a greatest-hits revue, “From the Second City,” which did not fly, especially in the wake of the fantastic Broadway success of Mike Nichols and Elaine May, also Chicago alums. Arkin’s first mention in the Chicago Tribune came in 1961, in one of columnist Will Leonard’s reports on the early years of the Second City ensemble. ![]()
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