Word: acted
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Dates: during 1970-1979
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...Follette, as Tom's would-be temptress and Norman's oft-eschewed wife Ruth, achieves a balance of incisiveness and insightfulness that makes her character whole and believable. Although she seems to seethe with an underlying intensity, La Follette at times stifles her portrayal, as she does in act two, scene one of "Round and Round the Garden," when she converses with Sarah so quietly that some of her words are lost to the back rows...
...Reiffel more than makes up for the problems in the opening with a riotous climax in the second act in which Annie and Norman collapse onto the lawn in a tumult of passion as Reg and Tom chat obliviously only a few feet away...
...opportunity to smile knowingly. George Kaufman and Edna Ferber's durable comedy doesn't make too much of this complexity, not nearly as much as some other plays in the genre, like David Mamet's A Life in the Theater. The Royal Family sticks closely to the bustling, three-act comedy formula that Kaufman and his collaborators used in so many of their perennially-revived scripts...
...auditioned in New York occasionally while still at Yale. When she moved to the city, directors scrambled to use her. Her first professional appearance was at Lincoln Center in Joseph Papp's production of Trelawney of the Wells. Next she played in a program of two one-act plays and did the seemingly impossible: she became both a slovenly, bovine Southerner in Tennessee Williams' Twenty Seven Wagons Full of Cotton and a thin, sexy secretary in Arthur Miller's A Memory of Two Mondays. Says Director Arvin Brown: "The audience didn't realize that they...
...Godunov complicated things by abruptly resigning from the A.B.T. before ever dancing a single pas because he had become an issue. Not so, insisted the dancers in a group note urging him to reconsider and requesting "the honor and privilege of being your friends." Balletomanes are awaiting the next act with understandable interest...