Word: gitter
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...Gunman is less successful. To be fully effective, O'Casey's play demands a studied performance, with its various parts considerably underplayed in order to achieve perspective and continuity. None of the actors in the New Theatre Workshop's presentation even attempted such an approach. If director Dean Gitter had tried to stifle their buoyancy, he would have overcome one weakness in the production. But it is the play, more than the acting, that is inadequate. Taken as a whole, the story is confusing, at times almost wild. Heavy Irish brogues hardly improve the clarity. Instead of being unified, therefore...
Along with Rufus Marsh, Gitter himself rounds out the list of tenants in the cast. One good directing touch comes in the last scene, when he has the poet turn his back to the audience in despair. Shadow of a Gunman may not warrant a wildly enthusiastic audience this afternoon and evening, but it certainly deserves a critical...
...cast are all near-perfect, the men do not suffer from comparison. As Jonathan Peachum, Fred Kimball can carry along the Brecht text in those rare moments when it wants in wit. Plagued by throat trouble, Kimball's singing was only the more authentic for the part. Dean Gitter, as Mack the Knife, was amusing and sleazy on cue, and when called upon near the end to carry the whole production through several numbers, rose to the occasion with no strain. He was a fine Macheath. With principals so admirably in hand, Mr. Aaron might look to The Gang, which...
...Dean Gitter, with un-sparkling competence, did some blustering as the Yugoslav colonel. But his main role was that of director. He did a good job, excepting only the spots in which he unfortunately choose to accentuate the play's pointless violence. Certainly the pace did not slacken at any point under Mr. Gitter's hand. For only brief moments, during which Mr. Gregory and Mr. Aaron decided that communism is basically evil, did boredom creep onto the stage...
Although it failed to convey a rather ambitious religious message because of the weakness of these performances, the play was saved as a piece of theatre by Gregory's witty dialogue and a series of excellent characterizations. Pippa Scott, Dean Gitter, and Courtlandt Gilmour spoke their lines with obvious relish and enthusiasm. Miss Scott's delivery as the Mother was delightful, and Gitter did especially well in the role of a businessman. Gilmour handled his part with suitable levity...