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...Cassandra Warshowsky plays a maid with bright, starstruck eyes, a face fast as quicksilver and an awkward energy that has Liza Minelli written all over it. Donnally Miller's vague and woeful wildman has a strange way of displaying innocent curiosity. He even speaks his lines as if they themselves are a source of wonderment-it's perfect. Laure Solet's performance brings the concept of complaint to its highest reaches, with a successful method that can only be called nervous nonchalance. All in all Sam Shepard's play is so vigorously acted that one's magnanimity cannot help...

Author: By Richard Turner, | Title: It Won't Work on Paper | 3/24/1973 | See Source »

...CASSANDRA STURM...

Author: /time Magazine | Title: Letters, Feb. 26, 1973 | 2/26/1973 | See Source »

History has lurched from its orbit; Cassandra herself could not predict events today. Not merely state or moral statutes seem suspended, but the laws of probability and chance. The lethal tendency has been crystallizing for well over a decade. In 1960, South African Prime Minister Hendrik Verwoerd, the high-profile white supremacist, had been ad dressing a crowd, surrounded by police. Like the Israeli guards, they searched the audience for danger, looking no doubt for the face of black rage. Verwoerd was shot by a mild white man who slipped through unsuspected. John and Robert Kennedy, whose enemies were supposed...

Author: /time Magazine | Title: Time Essay: Assassins and Skyjackers: History at Random | 6/12/1972 | See Source »

...serene in its controlled use of nuance and shading. In contrast, Joel Grey's shtick has picked up an added touch of the grotesque along the way. There are moments when it loses some of its original spontaneity--Grey now reads his punch lines as if he is a Cassandra who Knows, but isn't telling--but the overall effect remains seductive and riveting...

Author: By Gregg J. Kilday, | Title: So OK, Your Boyfriend's Bisexual, But Don't Take It Out on the Nazis | 3/27/1972 | See Source »

Would that the two one-acters with which the house makes its debut showed similar qualities. Despite fitful laughter, both plays have a Cassandra complex. Their common theme has been constantly drummed in recent seasons-woe is me, woe is you, woe is America. Such plays are loaded with enough dolorous symbols to break the back of Melville's whale. To compound their disadvantages, both playwrights seem wedded to the fallacy that drama is some kind of nonstop talk show...

Author: /time Magazine | Title: The Theater: The Cassandra Complex | 1/3/1972 | See Source »

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