Word: shohet
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Dates: during 1970-1979
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...ONLY PERFORMANCE that approaches Clemenson's is Grace Shobet's courageous Paulina, and the scenes between Shohet and Clemenson are the best in the play. Shohet outshines Kim Bendheim (Hermione), who is distractingly nervous in the opening scene but rallies to embody virtue, as Shakespeare intended. Bendheim is particularly strong in her trial scene, where Redford's blocking is also at its best--simply but effectively showing the relative virtues of the characters. Hermione stands on a small box above all her accusers; with their backs to the audience...
...WHEN THE ACTION switched to Bohemia in the fourth act, Redford stayed behind in Sicilia. In another production an act as terrible as this would destroy the entire show. But Redford's exceptional talents shine nonetheless in the other four acts--which are gilded by the exceptional performances of Shohet and Clemenson. Shohet's performance is of a calibre rare for the Harvard stage. Clemenson's performance is a of a calibre rare for any stage...
...self-styled funnymen and second-story acrobats. Apparently, the Lampoon has decided to stop publishing their delightful in-house journal, or so we must surmise. But they have turned to the theater, and the result is On the Lam, a two-hour "comedy" revue starring Chris Clemenson, Grace Shohet, Brian McCue, and Fred Barton. Now we can get the same ten laughs we used to get in ten minutes, skimming the Lampoon during a tenure on the Porcelain Throne, spread out over a full two hours in the congenial Adams House Junior Common Room--this truly is the miracle...
...cast, for the most part, deserves such a show--one would be pressed to find three stage personalities as obnoxious as Brian McCue, Grace Shohet, and Fred Barton. With his pinched face and short catalogue of exaggerated expressions, McCue mugs like an eight-year old who wants a new tricycle; Shohet evokes Ethel Merman; Barton, the ham-handed piano player, thinks it's enough to bellow in a smug voice and grin idiotically like George Burns, jutting his prognathous jaw like a salient into the Comic Void...
...actors at the Loeb become little more than menials on stage, pushing about various inanimate objects in time to the music. Only a couple of performances have much character--Paul Redford's cigar-chewing Loge and Grace Shohet's teasing Brunnhilde stand out. This is one show where the technical crew deserves more credit than the performers; Eric Cornwell's lighting, Antony Rudie's technical direction, and Jennifer Schreiber's stage-managing must all be epic efforts...