Word: berghof
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Dates: during 1950-1959
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...choosing the first show, the powers-that-be naturally wanted a festive work of acknowledged merit. They settled on Shakespeare's Twelfth Night, and engaged Herbert Berghof as director. The work is too well known to warrant much comment. It is, of course, the last and subtlest of the Bard's true comedies--a study of (1) unrequited lovers (in which, by rare exception, young love is not opposed by an elder generation), and of (2) poseurs. Every member of the personae is a persona in the old Latin sense of a mask-wearer; and the play...
...broke into television at 18, played leading roles for two seasons (Studio One, Kraft Theater], then put in a weary tour in Hollywood acting in second-rate films (New York Confidential, The Naked Street). Last August she went back to Manhattan to study acting with Drama Coach Herbert Berghof-and to find sudden fame on Broadway...
...production of the show in Boston. After Friday's performance he staged a free symposium, which he later said was more successful than any of the New York ones. On the stage were assembled most of the Boston newspaper critics and several local college professors, plus the director, Herbert Berghof, and the members of the cast; and nearly 1500 people filled the house seats...
...higher degree of perfection. Earle Hyman as the more intelligent Valdimir suggests just the right amount of dignity, and Rex Ingram makes a beautifully fearsome and pathetic Pozzo. As for Lucky, the part demands a pantomimist, and in Geoffrey Holder it has found a master of this form. Herbert Berghof, who also directed the original production, molded the four performances into a superbly balanced whole, and accomplished his job with imagination and no little daring. The merits of Samuel Beckett's contribution to the evening may be debated, but the work of these five men stands far above the possibility...
...acting is in most cases excellent, and in the role of the cynical German doctor, played by Herbert Berghof, it is superb. Miss Sullavan is perhaps a shade too theatrical, maintaining the level of emotion at a pitch which must be shattered in the play's denouement. James Hanley's portrayal of the lover, steeped in social mores and incapable of matching his mistress' passion, alternates effectively between flippancy and noble resignment. Perhaps the one flaw in character analysis--whether through script or through Alan Webb's portrayal--is that of the jilted husband; one can never believe that...