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BUT HUMOR in Epstein's production serves as a counterpoise to, not a remedy for, the harshness of nature: both moods coalesce under the spell of Purcell's music into an almost consecrational celebration. That's appropriate for A Midsummer Night's Dream's nuptial blessing in dramatic form, and...

Author: By Scott A. Rosenberg, | Title: Out of Discord, Concord | 3/31/1980 | See Source »

THE ACTORS INHABIT Innaurato's universe with relish and sensitivity, turning in uniformly splendid, often unforgettable performances. Jeff Gerrard gives a delightfully detailed performance as Francis, from his nasal prissiness and grandmotherly peevishness to his awkward, chunky waddle. As his father, John Lagioia affects the stance of a fifth-grade...

Author: By David B. Edelstein, | Title: Smashing the Sidewalk | 3/6/1980 | See Source »

A virus is beginning to infect the Broadway musical and its name is opera. Last season's Sweeney Todd strained to achieve operatic style with recitatives and songs structured like arias; this season's Evita dispenses entirely with spoken dialogue.

Author: /time Magazine | Title: Theater: Monopod | 10/22/1979 | See Source »

Obviously the TV presence detracted nothing from the performance. It may even have helped it. Performers agree that it generates what Levine calls "a constructive nervousness," forcing them to concentrate harder. Milnes estimates that in a televised performance "the metabolism goes up 10% to 15%. You can't help...

Author: /time Magazine | Title: Music: The Met, the Moor and the Eye | 10/8/1979 | See Source »

Yates' winning recipe uses a lot of stock elements, but he combines them with style. The story is a very ordinary growing-up-in-America line that comes alive only because Yates peoples it with real characters and animates them with genuine humor. Dave Stoler, All-American son, is just...

Author: By Katherine P. States, | Title: The Best Movie on Wheels | 9/17/1979 | See Source »

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