Word: anouilh
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...Medea, with Judith Anderson), and clerical tyranny (Paul Vincent Carroll's The White Steed). Says Producer David Susskind: "We have none of those pernicious and aggravating conditions and taboos that you get everywhere else on TV." Most memorable example to date-WNTA's unbowdlerized production of Jean Anouilh's sex farce. The Waltz of the Toreadors, whose aging lecher-hero is fond of leaning forward to tickle young bosoms with his medals, meanwhile delivering lines not usually heard from TV gag writers: "Science ought to find a way of putting women permanently to sleep; we could wake...
...gave us seasons that each contained only one or two plays of stature amid a morass of mediocrity. As a matter of fact, Mr. Capp, it was only after you disassociated yourself from Falk that he offered us in 1957 a season0of nothing but good, plays: Jonson's Volpone, Anouilh's Thieves' Carnival, Fry's Venus Observed, Shaw's Back to Methuselah, Giraudoux's The Madwoman of Chaillot, and Graham Greene's The Potting Shed. He lost money; and last summer he lowered the quality of his choices somewhat, and still lost. So he threw in the towel...
...leave Sophocles out of this. This is the Antigone of Jean Anouilh, who has as much right as anybody else to take and rework an old story in the public domain. If his Antigone is not the "Tragedy" he designated it, it is (even in the Lewis Galantiere translation) an intriguing, witty, almost moving work, written with the urbane tough-minded brilliance of which only the French seem to have the secret...
Under Liz Stearns' direction the performance is a good one, and Richard Smithies brings to it considerable brilliance of his own. "My part is not an heroic one," says Anouilh's Creon, but in Mr. Smithies portrayal he is at least deeply sympathetic. What, after all, is a competent, compassionate, conscientious king to do when his niece insists upon being executed? "... the work is there to be done," he says, "and a man can't fold his arms and refuse to do it. They say it's dirty work. But if we didn't do it, who would...
...that Anouilh's long one-act is everybody's show. It dramatizes what Shaw called "moral passion," where as most people are more interested in the other kind. The action is kept resolutely offstage, and we are treated instead to long analyses of situation and motive. But the argument is intense and beautifully conducted, and it is as irrelevant to call the play "talky" as it would be to call a drama of the heavy-breathing school "action-y." The production would be a credit to any Harvard organization; when a critic thinks of chucking it altogether and retreating into...