Word: banquo
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...Macbeth is still good melodrama. The next to shortest of Shakespeare's plays,* and certainly the scariest, it moves at top speed for three acts-from the first appearance of the Witches to the disappearance of Banquo's ghost. As Critic A. C. Bradley once pointed out, the fourth act of most very great Shakespeare (Macbeth, Hamlet, King Lear) tends to slump. Last week's production slumps less than the play, and proceeds to a mighty laying-on of Macduff and a martial conclusion. Perhaps best of all, the new production catches an atmosphere of menace...
Juan Domingo Peron, Argentina's sobered Strong Man, was the Man Who Wasn't There. Uninvited because of its formerly pro-Axis, still anti-U.S. attitude, Argentina reappeared as often as Banquo's ghost. Everyone at Mexico City understood that Argentina, right or wrong, cannot be permanently ignored...
...strength or a tragic hero's stature. Evans has the instinct of a reciter, a soloist, reaching out with vocal magnetism to the audience rather than working in with his fellow actors on the stage. He doesn't, for example, talk to the murderers of Banquo; the murderers simply seem to be there so that he can talk. He brings more to the play than to the character...
...drowned some of the speeches, but that is the only large criticism of the production. To compensate for that, the treatment of the love of the Macbeths is handled admirably, making them more human and their deeds more plausible, while the inclusion on stage of the murders of Banquo and Lady Macduff intensifies the horror of Macbeth's evil deeds. All the scenes are excellently staged and the play never for a moment loses its terrifying force...
...made $75,000 fighting, had blown it away big-timing in Harlem. Afterwards he led an unsuccessful jazz band, hit the breadlines, got into Harlem's Y. M. C. A. theatre and later the Federal Theatre. He first played under Orson Welles's direction as Banquo in the Federal Theatre's Negro Macbeth...