Word: atkinson
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Dates: during 1980-1989
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...will show you fear in a handful of dust," wrote T.S. Eliot. The towering set that vaults above and plummets below the stage of Broadway's Brooks Atkinson Theater shows us fear on the inscrutable face of a perpendicular wall of stone and ice, pockmarked by eons. The hand-held camera that scales Designer Ming Cho Lee's awesome set is the playgoer's eye, restored to a 20/20 vision of the power, mystery, majesty and menace of undomesticated nature...
Northerners inclined to dismiss the case as the atavistic behavior of a small Southern town should keep in mind the murder of 30-year-old William Atkinson in Boston last spring. Atkinson, a maintenance worker, was with a friend when the two were attacked by a gang of bottle-throwing white men, who chased Atkinson into the Savin Hill T station. As he fled down the tracks in terror, Atkinson was struck and killed by an oncoming train...
...come a time when something approximating equal rights will exist in American Institution ask that the self-congratulatory" we've got equal rights" rhetoric be toned down a bit, if for no other reason than out of respects for the friends and families of Anthony Williams, Lennel Geter, William Atkinson and William Turks...
...Atkinson attempts modernization, but his efforts lack consistency. Lacoste shirts for the virile sons of the Duke and frumpy Talbot's dresses for the more matronly characters, while externally updating the actors, do not make them any more believable down deep. The use of popular music at climactic scenes is likewise questionable: in the final scene, when vengeance is pounding recklessly towards fulfillment, the Talking Heads' "Psycho-Killer" erupts out of nowhere as servants sprinkle the grappling bodies with red glitter. The ploy only adds a dash of Saturday Night Fever to an already macabre event. And the updating...
...Though Atkinson does not fit the play to the demands of a modern audience, he tailors it well to Leverett House's theater. The oak beams and wooden panelling of the stage provide the perfect backdrop for a play of this vintage. The choreography, which distributes the action over several different locations and levels, sustains the audience's attention, turning the playwright's flouting of the era's "unity of place" rule into an asset. Soliloquies from the ledges of the room's high-set windows, for example, make good use of the unusual features of the library. The audience...