Word: setting
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Dates: during 1960-1960
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Seeing Henry IV is somewhat like entering a theatre late and leaving it early: one comes after the plot has been set in motion and does not stay to see it resolved. And so, one complaint about the Phoenix Theatre productions of the second and third parts of the tetralogy is external to the productions themselves--they are not preceded by Richard II and, short of a trip to Central Park for Joseph Papp's production, one cannot see Henry V after Part II. In these circumstances, it is all the more remarkable that Stuart Vaughan has achieved balanced...
...Surely, Falstaff is at heart not a questioner: he cares not for the future, lives entirely in the present (Hal's first words to him are "What a devil hast thou to do with the time of the day?") and accepts that present without surprise or query. The eyebrows set a false tone that, in a small way, throws off Berry's performance...
Swirbul was constantly thinking up schemes to raise morale and lower absenteeism. He set up a "green truck" service to cruise the parking lot and change flat tires. Later, when Grumman Aircraft employed 8,000 women, many of them housewives, the green trucks would run errands for them, check to see if the windows were down in their homes and the iron turned off. He built baseball diamonds, organized a band to play for dancing at lunchtime. To promote a company spirit, Swirbul set up a bonus system based not on individual performance, but on the plant's total...
...Esther Jack in The Web and the Rock and You Can't Go Home Again, did have a husband, although the biography skips by him in one hurried sentence. Theodore Bernstein looked away while his wife entered wholeheartedly into a love affair with the 25-year-old Wolfe, set him up in a studio on Manhattan's Eighth Street, cooked gourmet meals for him while he wrote, helped add to the slim support he was getting from his mother and from his teaching job at New York University, and above all gave him the sort of encouragement...
CEREMONY IN LONE TREE, by Wright Morris (304 pp.; Atheneum; $4), is set in the barren Nebraska plains country, where the author stalks his favorite game -the "Sears Roebuck Gothic" Midwesterners with souls imprisoned like "buzzing flies" in "God's cocoon." Morris has been compared variously to Sherwood Anderson, F. Scott Fitzgerald, even Mickey Spillane, but in this, his 13th book, he sounds more like a kind of slick-paper Nathanael West, without that gifted writer's savage humor. His story is wired to the tangled nerve ends of the collection of oddballs and misfits who stumbled...