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...characterizations is Doug Morgan's portrayal of half-mortal Strephon. One always sympathizes with actors condemned to boring straight roles while others are allowed to bring down the house. But Morgan can't be forgiven so easily--he approaches his role with a set of two or three facial contortions and speaks his lines in a grating whine...

Author: By Paul K. Rowe, | Title: G & S Without Peers | 12/11/1975 | See Source »

...Bradley as Alan has the most difficult role to play in Equus and he is outstanding. He must rely more on movement and facial expressions while being the center of attention for both the audience and the play's other characters. When he first appears on the stage he stares at Dysart, confused and questioning. And he doesn't quite seem to get this accusing look that Dysart later claims he puts on to say, "I have my passion... What's yours?" Not that this is inconsistent with Alan Strang's character. It seems more appropriate that he always...

Author: By Gregory F. Lawless, | Title: Blinding the All-Seeing Gods | 12/1/1975 | See Source »

Carol Kane gives an amazing performance as Gitl. She exercises an absolute control over her movements and facial expressions, projecting an aura of quiet power throughout the film. Her sallow complexion and penetrating eyes give her face a strongly soulful quality. Kane undergoes an extraordinary transformation during the course of the film. At first an ugly duckling, she blossoms into a strikingly attractive woman by the end of the film; a submissive wife when she steps off the boat, she eventually emerges as an independent and assertive figure. The rest of the film's performances are generally solid, with only...

Author: By Mike Silk, | Title: People in the Jewish Ghetto | 11/24/1975 | See Source »

Word Dance, the first bit, is slow and haphazard. The characters dance and freeze, and then one delivers a pungent one-liner. The jokes are not terribly funny (where did you get those big brown eyes and that tiny mind?) but pointless facial expression and vapid delivery don't help them...

Author: By Amy Wilentz, | Title: Out to Lunch | 10/18/1975 | See Source »

...laugh, cry, joke, pray, confide, console, with the unforced naturalness of the neighbors next door, but glow in our dreams and memories even weeks after the performances with a stunningly vivid brilliance. It is as if we had swallowed whole a complete vocabulary of previously undiscovered emotions, gestures, and facial and body expressions. A particular situation, the gesture of a friend, can, at some of the most unexpected moments, trigger the memory of an image or scene from the plays, much as we are suddenly reminded by smells or mannerisms of childhood memories, or of old friends we had known...

Author: By Ta-kuang Chang, | Title: A Wistful Smile and a Pucker | 9/22/1975 | See Source »

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