Word: flashback
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Dates: during 1950-1959
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...Hotchkiss, but Dane Clark and Robert Middleton were smooth and competent as the killers, and so was Ray Walston as the frightened owner of the lunchroom in which the killers reveal their plot. Beyond the brief Hemingway dialogue, the show was distinguished only by the Swedish fighter. In a flashback to a Chicago gym, where he was coached in the art of taking a dive, and in the scene from the original, in which he decided that he is "through with all that running" from death, the part of Ole Andreson was naturally and credibly managed by Amateur Actor Ingemar...
...expatriate American hero-heel, who tells this story in first-person flashback, has a code of sorts. He believes that arty ends justify ratty means. Setting up his easel on Rome's Spanish Steps, he sketches the pigeons until the inevitable tourist sucker expresses interest. Eventually, the painter cadges a meal at the Caffe Greco, or his rent money, or a small "loan" to tide him over till the next patron of the arts appears...
Goaded by her uncle-in-law (implacably played by Zachary Scott), Temple tells all in a flashback confessional. It is a litany of lust and degradation. Eight years before, Temple had been kidnaped by a spiderish hoodlum named Popeye, kept six weeks in a Memphis brothel, and ''loved it." ("Nun" is a 19th century word for whore.) A year later Temple married the slack-spined Virginia gentleman, Gowan Stevens, who had been too drunk at the time of the kidnaping to protect her. It is only when Temple proposes to relive the bad old days with...
...Medea for two weeks with only occasional explosions of temperament. Both performances attracted capacity crowds, and Callas endowed both of them with the kind of artistry, witchery and passion that only she can convey. The Dallas Traviata used an intriguing gimmick by presenting the story as a long flashback, starting with Violetta on her deathbed visualizing the episodes leading up to her final illness. From the first curtain, when a soft light bloomed on the reclining Violetta, to the resignation of Dite alia giovine and the yearning of Parigi, O cara, Callas held her audience in a kind of hushed...
Much of the other material is covered in flashbacks, which, although often skillfully executed, greatly distract from the play's effect and continuity. The Disenchanted would be a much better play if most, if not all, of these flashbacks were eliminated. For most literate spectators, it is not necessary to review the spirit of the Twenties or the life of Fitzgerald. For most, that decade and its Fitzgerald and Zelda evoke more images and emotions than the flashback could ever portray...