Word: macdermot
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Dates: during 1970-1979
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Producer Chris Stone '78 first conceived the idea for an outdoor show last May, he said yesterday, adding that the cast's morale received "two real boosts" when Galt Macdermot and John Guare, the composer and lyricist of the show, came to help with the production...
...commission's report were soon felt in Kampala. There was little that Amin could do about the Geneva-based jurists, but he was not at a loss for convenient targets. Accusing the British of instigating the report (the commission's secretary-general is London Barrister Niall MacDermot), Amin first threatened to expel Uganda's 1,500 Britons on 48 hours notice, then backed down from the deadline at the behest of Kenya's President Jomo Kenyatta. But he warned that "drastic action" would still be taken if Britain's "vicious anti-Uganda campaign does...
...small French village, has been transported in the film version to "Anywhere, U.S.A." O'Horgan and Julian Barry, writer of the screenplay, seem to assume that's the only way we can relate to the plot. Americanization of the French names, and a pop music score by Galt MacDermot (Hair) are further attempts at relevancy. If the play really has meaning, it should be able to transcend time and locale...
...from a naturalistic approach that reinforces the absurdity by contrasting it. Instead, O'Horgan clobbers the play with a bladder of tacky tricks, like shaking the camera to represent a rhino's point of view, staging a coy, clumsy dream sequence, and including a score by Gait MacDermot (Hair) suitable for rebroadcast in office elevators...
...musical, and an open declaration of total aesthetic bankruptcy. It combines the worst of Hair with the worst of Jesus Christ Superstar-a void-plumbing feat. Dude unravels a numbingly incomprehensible allegory ranging from the dawn of creation to the limbo of suburbia, or some thing like that. Galt MacDermot's rock score is a wall of inchoate sound, and Tom O'Horgan stage-manages this debacle like a mass epileptic convulsion...