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...NCAA Division I Men's Swimming and Diving Championships held here at the Indiana University Natatorium, Harvard Co-Captain David Berkoff captured his second NCAA championship in three years, grabbing the gold medal in the 100-yd. backstroke and setting another national record...

Author: By Joseph Kaufman, SPECIAL TO THE CRIMSON | Title: Berkoff Breaks Record; Crimson Places in 17th | 4/3/1989 | See Source »

...Berkoff's victory, combined with his second place showing in the 200 backstroke, helped the Harvard men's swimming team finish in 17th place overall...

Author: By Joseph Kaufman, SPECIAL TO THE CRIMSON | Title: Berkoff Breaks Record; Crimson Places in 17th | 4/3/1989 | See Source »

...acting debut by dancer Mikhail Baryshnikov, the most ballyhooed highbrow event in the theater so far this year is all but bereft of emotional force. At the finale, two actresses stand rigid, their cheeks glazed with tears, yet much of the audience reacts only with uneasy titters. Director Steven Berkoff's highly stylized script and direction circle around the story, adding layer upon layer of ornament, when what is needed is a clean, quick cut to the emotional core of an incident as simple as it is mysterious...

Author: /time Magazine | Title: Theater: A Nightmare Without Force | 3/20/1989 | See Source »

...Berkoff manages to convey the essence of the dilemma for Gregor's parents and sister, albeit without the least sympathy for their natural anxiety and revulsion. He is far more interested in portraying them as grasping and money mad, in a Marxist gloss on the plight of the worker. They are so coarse and reprehensible -- more animalistic when eating than the bug in the back bedroom , -- that there is no point of connection for the audience, certainly no creative tension between expecting the family to take a noble course and knowing why it succumbs to a selfish...

Author: /time Magazine | Title: Theater: A Nightmare Without Force | 3/20/1989 | See Source »

...quite right to say the performances are bad. Presumably at Berkoff's behest, they are as exaggerated as in a Victorian melodrama, the emotional colors underlined by music as tinkly or percussive as in Beijing opera. In a further attempt to weight the scales in favor of the sensitive outcast, Baryshnikov's speeches are candidly written and delivered with touching directness. Most remarkable, however, are his agility and grace in evoking the lumbering, graceless creature. Skittering across the floor, or toppled over backward and trying to right himself, or dangling from the spider web of piping that represents a ceiling...

Author: /time Magazine | Title: Theater: A Nightmare Without Force | 3/20/1989 | See Source »

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