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...stage director with more problems than he did in Antony and Cleopatra; thus any production of the play is cause for excitement. Coleridge thought it Shakespeare's "most wonderful" work; and in recent years a band of university scholars has been busy vociferously proclaiming it the greatest of the Bard's tragedies...

Author: By Caldwell Titcomb, | Title: Antony and Cleopatra | 8/4/1960 | See Source »

...choosing The Tempest and Twelfth Night to start their sixth game, the American Shakespeare Festival led out an ace-king--for the first is the profoundest of the Bard's late romances, and the second is the finest of his comedies. The ace proved a winner, but the king unfortunately got trumped...

Author: By Caldwell Titcomb, | Title: The Tempest and Twelfth Night | 7/5/1960 | See Source »

...City's famed Astor Place riot, in which 22 people were killed. But in the U.S., too, touring companies were beset by moralizers, and as they played the Bard in gold-rush camps and over billiard rooms, the actors placated indignant religious sectarians by billing Othello as "a moral dialogue depicting the evil effects of jealousy...

Author: /time Magazine | Title: THE STAGE: To Man From Mankind's Heart | 7/4/1960 | See Source »

...Bard. All the actors, British and American, like their predecessors, are involved in the attempts of their age to press Shakespeare into a contemporary mold. Orson Welles dressed his Caesar in quasi-Fascist uniform, and Olivier's mother-possessed, mob-envenomed Coriolanus ended hanging head downward, like the dead, degraded Mussolini. Moscow has staged Hamlet as an army plot against the King, with Ophelia a court whore who played the mad scene drunk. In Manhattan a group of feminists staged an all-female Lear, and a Polish actor played Shylock as a fat, wisecracking Broadway type. At Stratford...

Author: /time Magazine | Title: THE STAGE: To Man From Mankind's Heart | 7/4/1960 | See Source »

...been more explosively anti-Bard than Shaw: "What a crew they are-these Saturday-to-Monday athletic stockbroker Orlandos, these villains, fools, clowns, drunkards, cowards, intriguers, fighters, lovers, patriots, hypochondriacs who mistake themselves (and are mistaken by the author) for philosophers and princes." And yet, like most other critics, Shaw had to concede: "I am bound to add I pity the man who cannot enjoy Shakespeare . . . The imaginary scenes and people he has created become more real for us than our actual life...

Author: /time Magazine | Title: THE STAGE: To Man From Mankind's Heart | 7/4/1960 | See Source »

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