On a cavernous stage in suburban Los Angeles last week, a TV play was in the throes of dress rehearsal after eight days of tough practice and preparation. Sets representing scenes in an upstate New York home, in Manhattan and in London were ranged in a circle around a cluster of cameras, microphone booms and cables. Overhead glared a battery of lights. In and around the sets moved actors, cameramen, soundmen, stagehands, assistant directors and a stage manager in a reasonable facsimile of confusion. From the control booth, Director Seymour Kulik barked commands...
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