Word: beggared
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Dates: during 1970-1979
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...BEGGAR'S OPERA is as immediately biting as they come. Originally produced in 1728, in a London where starving people were hanged for stealing a shilling's worth of property, it tells about a gang of thieves, fences and jailers supposedly much like the high officials who surrounded Horace Walpole, the first prime minister of England. From time to time, the characters explain that they are at least more honest than England's unpunished rich people, but mostly they're too busy trying to sell each other out. At the end, Macheath the highwayman--the original of Weill...
...City Center Acting Company from New York City is doing three plays at Brandeis this week--Anton Chekhov's The Three Sisters (Saturday), John Gay's The Beggar's Opera (tomorrow), and William Shakespeare's Measure for Measure (today, with an extra performance at 11:30 this morning). It's a good company, and they're all good plays. 8:30 p.m., Spingold Theater at Brandeis...
...long grand ballroom). A year later, the Chelsea company's production of LeRoi Jones' Slaveship was so successful that it moved to off-Broadway after its three-week Brooklyn run. The same thing happened to a 1971-72 production of John Gay's The Beggar's Opera and a 1973 Academy staging of Jean Genet's The Screens. Lichtenstein has also brought in a wide variety of visiting theatrical attractions, from Jerzy Grotowski's Polish Theater Lab to the Whirling Dervishes of Turkey to the Peter Brook-Royal Shakespeare Company production of A Midsummer...
Merton's sensitive social conscience made it difficult for him to confront the immense poverty he saw. Shortly after he arrived in Calcutta, a small beggar girl appeared at his taxi window before he could buy any Indian money. Merton was helpless. He recalled "the utterly lovely smile with which she stretched out her hand, and then the extinguishing of the light when she drew it back empty. She fell away from the taxi window as if she were sinking in water and drowning. I wanted...
...outset, John Morris's harp chords and sustained flute convey an ominous mood appropriate for the 16th-century Vienna where "quite athwart goes all decorum." Michael Kahn has added a brief prologue that introduces us to some of the unsavory people in the city--including a blind beggar, a pickpocket, a legless cripple. There is no point in trying to avoid the play's prevailingly rancid taste. Kahn has abridged the text a little, so that the show has a running-time of two and a half hours...