Word: barclay
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
Paris K.C. Barclay '78-4, a HRDC member, said yesterday that Brustein's professional and rigorous approach to drama would "scare away" the amateur performers and split drama students into two groups. Career-oriented theater students will be drawn to the Loeb, and House shows and amateur organizations will suffer, Barclay said...
...same goes for Paris K.C. Barklay's rendition of Sky Masterson, macho gambler extraordinaire. Barclay moves through his scenes with an understated panache, rolling off his smooth-man lines with obvious enjoyment. Unfortunately, last Saturday Barclay's fine voice was muted by laryngitis or a similar malady; rendering his songs--particularly his otherwise impeccable "Luck Be a Lady"--just a bit too soft...
Masterson's namesake of television is William Barclay "Bat" Masterson. The original Bat Masterson was a frontier lawman fabled for his panache as a dresser and highstakes gambler. Born in Iroquois County, Ill. in 1853, Masterson became deputy sheriff of notorious Dodge City, followed the gold rush prospectors to Deadwood, S.D., and then went to enforce the law at aptly named Tombstone, Ariz. at the behest of Marshall Wyatt Earp. Masterson closed out his career as a sportswriter for the New York Telegraph...
...first Loeb Mainstage production of the semester is the quintessential late '60s musical, with the large added bonus of a brilliant score by Stephen Sondheim. Company is the story of a single man among his married friends, and his shifting feelings about the value of marriage. Paris Barclay's crew is a bit uneven, but all the leads can sing, which is all that a musical really requires. A must for Sondheim freaks--and since there are so many of the, you'd better get your tickets in advance. Tonight, tomorrow and Saturday...
Most musicals, particularly those in which the score towers over the book, tend to direct themselves, given a competent cast, so it is difficult to assess what Paris Barclay has done in his Mainstage directorial debut. Many of the dialogue scenes fall flat--partly because of easily anticipated jokes and a few wooden characterizations--and by the second act the audience waits only for the next number to start. Several fine performances, though, keep this production of Company from being a skein of loosely-woven songs, the foremost among them Bonnie Lander's funny and beautifully-timed Joanne, the bitch...