Word: bettis
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Group I. Two of the three epics in this classification mercifully died on the road during the fall, but others have continued in the face of the TI death warrant, including The Queen and the Rebels, by another mudder among esteemed playwrights, Italian Ugo Betti, who flopped in an off-Broadway production. None of Queen's other participants has a recent Broadway past except for two-time losing Co-Producer Martin Cohen...
Westport, Conn., Country Playhouse: First U.S. performance of Ugo Betti's The Burnt Flower Bed, starring Eric Portman, Signe Hasso and Gloria Vanderbilt...
...major event was the American premier of The Burnt Flower-Bed, written in 1952 by the late Italian dramatist Ugo Betti. Betti has been hailed as a greater playwright than Pirandello; he is certainly not that, but he does deserve a place among the most important modern writers for the theatre. This play deals with the problem of present-day nihilism and international political diplomacy. If it did not lapse periodically into propagandistic sermonizing, it would be a masterpiece...
...ineffectual gestures who methods his way through one purely visceral crisis after another. Where we should have Trotsky in exile, we get something like Governor Long. Indeed, the major flaw of this production throughout was a submerging of the intellectual tensions in an unrelieved broiling bathos of emotionality. Betti's classic balance of philosophic dialogue and human drama was tipped over by an exclusive concentration on the latter. Lines were used as a histrionic medium in which the actors could palpitate rather than ever being allowed simply to mean, to communicate, to convey their propositional sense: it is the theatre...
...actors are sure to have their lines and cues down pat, the pace of the performance will accelerate and acquire structure, and in all probability the Tufts production will have become more than adequate. I choose to look on the bright side because the American premiere of Ugo Betti's masterpiece is not an event to be missed. For later productions will fully certify its claim to be one of the great plays of the twentieth century--as timely as the latest headline from Geneva, as timeless as the struggle of man's will with fate...