Word: brush
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Dates: during 1970-1979
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...recognition of the common bond that still exists beneath the spite and anger. It should be a very moving moment, but it doesn't work in this production. And that was not Biff's fault--it was Willy's who, in being little more endearing than a Fuller Brush man, makes Biff's gesture seem strangely out of place. But given this difficulty, the remainder of the cast is good to excellent. William Hutson as Biff is particularly effective in his scenes with his brother Happy. Special mention must be made of Mark Swiney as Happy, the only...
...rest of the cast, only Bonnie Franklin, as Gabriella, is clearly beyond her depth as she performs "I Sing of Love." Porter's most zestful and zany show is always welcome, particularly in a version as generally diverting as this. So "Brush Up Your Shakespeare" and get on out there...
Sweet Eros, a play by Terrence McNally, is still running at Theater Two near Kendall Square. This is Cambridge's current brush with the avant garde, so if you go in for that kind of thing you might as well see this before the U.S. Attorney follows his Boston act and closes this one down. It's playing with Michael McClure's The Beard, depicting the sexual confrontation between Billy the Kid and Jean Harlow. This could have been a lot better, but it's sort of cute. For the next two nights the performances begin at 8. Sunday...
Beyond question, the President's trip also serves as a tactic in his efforts to ride out Watergate: he hopes to convince the nation that he is the indispensable man to turn America's foes into friends. Henry Kissinger may try to brush the subject aside-"Foreign policy is not conducted in relation to Watergate" -but Nixon knows that a successful tour of the Middle East, splendidly covered by American television, will be a diplomatic extravaganza that will, at least temporarily, divert attention from the impeachment proceedings...
...responding to the angles of the chair legs, the shallow, vigorous flurry of space and line around the vestiges of a head. With De Kooning, the energy and propulsion of the line tend to abolish the usual distinctions between painting and drawing; line turns out to be equal to brush mark in its power to suggest density, friction, displacement, tactility and all the other signs by which we recognize the life of forms. It seems likely that in the future, De Kooning's originality as a draftsman will be seen to reside in his power to cross the bound...