Word: bernsteining
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...Bruce Bernstein, a Tufts student who witnessed the incident, said that the Waldorf's manager had refused to serve a young black man whom he claimed would not be able to pay the bill...
...about, where and why it failed. and what the failures mean about mankind. remain abstract. unembodied in subtler means of expression. What makes this production so fine are the performances of the lesser characters-the inmates... "the people" in metaphor. These roles are largely non-verbal, and Director Charles Bernstein has achieved with his very raw staging (no lights, props, or costumes, and no raised stage) a Grotowski energy level without accenting his particular techniques for achieving that level, as the Loeb production of Three Sisters tended...
...same way, Bernstein has used the audience confrontation of the Living Theatre without its self-conscious awareness of its own method. Audience confrontation is important, not in-itself or for-itself, but within the context of the theatrical illusion, which, in this most metaphorical work, Bernstein and his cast have wisely chosen to grant. At the close of the first act, the inmates march toward the audience singing "Marat we're poor and the poor stay poor. Marat don't make us wait anymore. We want our rights, and we don't care how. We want a revolution...
...different contexts of reality. It is a play about a play in which psychotics (Marat is played by a paranoiac who is in turn played by John Mckean) act out Sade's own recreation of the Revolution. Occasionally one can get lost somewhere in between the levels. To this, Bernstein has added a particular jolt by having William Liller, Master of Adams House, play Coulmier, Master of the Charenton asylum. Liller is a natural...
Once Rudolf had impressed himself so deeply on the Orchestra, Leonard Bernstein never had a chance of putting it into shape for the Ninth Symphony in one day. He could not be expected to get his soloists-Martina Arroyo, Lili Chookasian, Richard Lewis, and Thomas Paul-integrated with the orchestra, and he didn't. The first three movements were unsatisfactory, glossing over all the nuances of score which distinguish this work, and filled with muddy playing. The choral movement failed for lack of rehearal. The BSO recorded the Ninth with Leinsdorf only last year, and it was clearly influenced...