Word: plot
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Dates: during 1970-1970
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WILFRED LEACH'S In 3 Zones , now in its world premiere at the Charles Playhouse, is a series of fairy-tale plot fragments saturated in Faust-derived moralizing. The combination is heavy, uneven and often downright tedious, but director Louis Criss breathes some life into the subject matter through experiments, somewhat erratic, in fusion of stage and film action. Though all focus disappears in Zones 1 and 3, largely due to an undisciplined spate of plot elaborations, Criss and his acting troupe salvage Zone 2, "The Occupied Zone," thus granting their audience a few moments of genuine excitement...
...telling commentary on the whole evening was the audience's uncertainty whether to applaud once Chestnut's body was removed from the stage. The plot threads were that tenuous. A few glimpses of Chestnut as a baby, cub scout and young man were projected on the wall of the house, but these seemed only token gestures after the exciting film work in Zone 2. With greater selective judgment, Criss could have shortened this play by one hour and made far better use of his extremely gifted actors. Where he did venture into experimentation, he had solid backing from John Jacobson...
...plot of Love Story concerns the romance between a preppy Winthrop House jock and a poor scholarship Cliffic who dies of leukemia in the surprise ending...
When FBI agents captured Angela Davis in a Manhattan motel last week, it seemed that the denouement of the mystery surrounding the striking, cerebral young radical might be near. Instead, the plot only thickened. Along with Angela, federal agents arrested David Poindexter, a black Chicagoan with known Communist ties. They also introduced another new, if slightly aging, character into the drama-the Communist Party, U.S.A. The result was a baffling mixture of Old Left and New, with Angela the pivotal figure...
...years with this regiment." But he has not acted remotely like a gentleman, only like a sour, spoiled, self-indulgent brat. Besides, Mrs. Hasseltine is in the weakest position to raise any moral questions since it is she who has maligned an innocent man's character. Even as plot jockeying, this kind of dishonest playwriting does not pay, for the audience feels in the end that the emotion, interest and belief that it has invested in the play have all been exploited and betrayed...