Word: casting
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Dates: during 1980-1980
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...vocally that the Currier House production fails. Director Ted Wiprud takes Eliot literally throughout, and doesn't tamper with casting or staging: he turns the Currier Fishbowl into a miniature basilica, lining the audience reverentially on either side, as though the plastic seats were pews. The director's straightforward approach falters only because many in the cast simply lack the vocal agility to carry Eliot's play safely from poetry to speech...
William Marvy leans on an antique barber chair, whose cracked leather he has replaced with Naugahyde ("a fine product"). It is one of the grand old cast-iron, nickel-plated thrones made by the Emil J. Paidar Co. of Chicago. Paidar also made barber poles and, until it went out of business in the early '70s, was one of Marvy's last competitors. Before meeting Marvy, a visitor imagines someone like the last buffalo hunter, a badlands bad man left over from the century before, gloomily waiting for the great herds to come again. But Marvy sees himself...
Late in the 11th century, Shang rule was supplanted by the Zhou dynasty, and one of the museum's outstanding exhibits is a stolid bronze vessel whose inscription records that it was cast on the eighth day after the Zhou victory. The Met is still amazed that the Chinese agreed to let it leave the country. "It's like lending the original copy of the Declaration of Independence," says Assistant Curator Maxwell Hearn. Over the next eight centuries, Zhou craftsmen became increasingly uninhibited in adding figures to their vessels, as handles or simply as decoration. One massive vase...
...play's lineal parentage. It surely includes Sherwood Anderson's Winesburg, Ohio, that symbiotic study of lonely spirits in stultifying small towns seeking the mind's freedom and the heart's release. Director Vivian Matalon has sensed that aspect of the play, and his cast, wondrous in its ensemble excellence, embodies it. Whether one goes to the theater to laugh, to cry, to muse or to learn, Morning's at Seven satisfies all four appetites. -T. E. Kalem
...then why cast two American Ballet theatre artistes, Leslie Browne and George de le Pena, in leading roles that demand precious little dancing, but require substantial emoting? Browne has lost much of her nasal whine of The Turning Point, and handles the dramatics fairly well. But the role swamps de la Pena; he acts like a dancer, relying on exaggerated expressions and quivering limbs to convey emotion. He performs several of Nijinsky's most famous ballets, including Afternoon of a Faun and Le Spectre de la Rose, but we see all too little of his dancing; Ross focuses the photography...