Word: breuer
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Harvard's role in the whole affair became a little clearer when, at the banquet, Stephen Swid, vice-chairman of GFL/Knoll, presented the first GFL/Knoll Creative Leadership Award to Marcel Breuer, a designer and architect who taught at Harvard in the '30s and '40s. Illness prevented Breuer--celebrated for the tubular steel chair that bears his name--from attending the presentation...
Swid also announced a grant in Breuer's name of $10,000 to the GSD, earmarked to hold a conference and exhibition at the GSD in 1982 entitled "The International Style in Prespective...
...less incoherent on paper; the only unifying nexus is the mind of the playwright, and that, of course, is his alone. The plays need a strong directorial concept to bring that mind onto the stage, to fill in the lacunae between the playwright's own macabre circus rings. Breuer's approach only succeeds in fracturing it still more...
...mugging and a lot of whining, a lot of effort but almost no success. Physically, she is virtually inert, although she seems graceful next to her leading man, Frederick Neumann. Neumann does wonderful things with his voice, and his vocal virtuosity is put to good use by Breuer; but the voice seems like an incubus that is very, very unhappy with the body it has fallen into. And Neumann seems a little confused by the production--he plays it very much as an actor, bantering, for example, with the technical people; but this undercuts the extreme emotionalism of his exit...
What this leaves us with, then, is a tremendous show with no greater aspirations than its own exuberance. Because of Breuer's approach, and the failure of the female lead, the play is emotionally and intellectually a nullity; there is fun but no power, a tour de force with no force, a wonderful personal aesthetic with no lasting effect. This is the theatre of spectacle; nobody is going to leave the theatre changed in even the smallest way, even if they stay till the end. Lee Breuer has a huge talent, and he has buried...