Word: gitter
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Priscilla Foley skillfully portrays Elizabeth Stone's variety of emotions and dignity. Betty Black and Henry Mann decrease the smoothness of the performance by muffing lines; but Linda Gitter as Helen Halsey adds brashness, and Robert Dargie's Col. Keogh and Constance Walsh's Sally add color, humor and vitality...
Colgate Salsbury '57, D.J. Sullivan '57 and Harold Scott '57 from the original cast will play in the New York performance. The only substitution will be Dean Gitter '56 for Robert Hesse '57 as the jailer. Gitter had the lead role of Willy Loman in the HDC production of "Death of a Salesman" last year...
...whole, the gentlemen were less outstanding; they also had harder things to do. Fortmiller, as Ulysses, handled the show's largest part with a competence which was almost impressive--but not quite. Dean Gitter's Menelaus was amusingly smooth and sneaky, and because of superior singing talent came across to the audience somewhat better than Andre Gregory's Hector Charybdis. Nevertheless, the two hit it off well in the dance duet, "Scylla and Charibdis," and Gregory made his part well worth everyone's while in "Hector's Song," which he executued with great chic. Harold Scott made a remarkably good...
Death of a Salesman gets a distinguished treatment by director Steve Aaron and a cast headed by Dean Gitter, Pat Hess, and Colgate Salisbury. Sanders...
...paradoxical Willy, Dean Gitter shows flawlessly the inner collapse of a man who cannot understand himself, and who nearly imposes his own confusion on the lives of both his sons. In the role of Biff, shocked into a tough honesty which leads to his final knowledge of both his father and himself, Colgate Salisbury shows understanding and mastery of an important and intricate part. Between them, they bring the audience a father and son alike, desperately needing roots and a tangible grasp of life, struggling against the poisonous and destructive vanity of dreams. Inane, pompous, and deeply sympathetic, Gitter plays...