Word: thommen
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...talents of the actors and the excellence of Wilbur's verse are worthy of Edward Thommen's direction, which shows wit and polish in matters of pacing, blocking, and maneuvering on a very small stage. There can be no argument with his deft exploitation of rather difficult and challenging scenes. The setting by Panos Ghikas and Natalie Johnson's costumes are extremely well-conceived and well-executed, and Paul Des Marais' entr'acte music is nice if brief...
...following year Four Plays for a Bare Stage successfully appeared, proving that space and scenery are not necessary. Rockwell Film Studios provided the bare stage. But if the Poets found that elaborate staging could be dispensed with, they also agreed that professional direction could not. Edward Thommen was hired by the ever-growing bank account as Managing Director. He formed the center for a core of theater professionals which now includes Miss Huntington, designer William Hunt, and poet-president Lyon Phelps...
...Thommen and Miss Huntington found a large dirty room with paint spilled over the floor in back of the Paul Schuster Gallery. The Poets took a lease and spent part of their fund getting the paint off the floor. George Montgomery designed a stage, the staff worked for six weeks, and a curtain was hung across the front. Palmer Street ended the wandering and pushed Theatre ahead of Poets...
...play is so contracted as to allow for simple acts, and scene transitions which can be worked out mainly by lighting techniques. For the most part, the Poet's Theatre handles these effects well. Director Edward Thommen is especially successful in the first two acts, arranging his stage so that the relationships between each member of the cast may be carried out with dramatic effect. The third act, however, is a distinct disappointment, for which both the writer and the performers may share some of the blame. Johnston shifts from the more intimate episodes of the earlier acts...
...Phelps arranges effective byplay between the figures in the painting, the artist, and the two women spectators. He allows Hawthorne to speak a long monologue filled with poetry that is at times truly beautiful; yet if it were no for the warm voice and delicate diction of Edward Thommen, so long a speech would have seemed dull. Robert Heavenridge, as Melville, and Martin Halpern, as the artist, are quite good, while Mathida Hills, playing the first woman, perfectly captures the terrified shyness intended by Phelps, and Elinor Fuchs is wonderfully funny as her coarse, insensitive companion...