Word: anouilh
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Dates: during 1960-1969
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There are plays and plays. Some should not be adapted or altered for performance on stage, but equally, there are other plays that positively need to be clamped down to a specific interpretation. Anouilh's "Waltz of the Toreadors" is one of the latter kind and suffers when a director is not willing to take liberties with the material, to chop and focus on some particular human experience...
...play is done straight, in full color period dresses and with immaculate props, in short the full Shaw treatment. And this is a grotesque mis-application because, among other reasons, Shaw is supremely logical in his plays with all the events and incidents falling sensibly into place, while Anouilh...
...American Shakespeare Festival, the powers-that-be have for the fourth time gone outside the Shakespearean canon. The first departure, in 1963, was Shaw's Caesar and Cleopatra; and this year we once again have Shaw. In between, the Festival gave us Eliot's Murder in the Cathedral and Anouilh's Antigone...
...make any character in a play seem like, well, a character in a play. Part of the problem is the traditional tiny house at the traditional Thursday night opening. No cast can as one actor astutely adlibbed, "turn 25 or 50 individuals into one single attentive being." The figure Anouilh had written was "seven or eight hundred...
Claudio Buchwald plays the Author at Quincy House, a self-pitying sort who is trying to piece together a melodrama of murder, poverty, and lust from a collection of uncooperative protagonists. At the outset Anouilh has the courtesy to apologize, though the Author, to Pirandello. After that, Buchwald is left to intervene periodically as the play drifts out of his control. He does so with reasonable skill, although his expression of unrelieved anguish and his habit of passing off fidgeting as unease begin to wear after a while...