Word: caesares
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AMERICAN SHAKESPEARE THEATER, Stratford, Conn. Twelfth Night, Julius Caesar and Falstaff (Henry IV, Part 2) as counterpoint to T. S. Eliot's Murder in the Cathedral. Through Sept...
...American, President Marion Sadler, 55, a onetime schoolteacher who still spends an hour a day studying Latin ("I'm reading Caesar now"), is assuming increasing responsibilities from durable Chairman C. R. Smith, 67, who made the line virtually the extension of his own bulky shadow (TIME cover, Nov. 17, 1958). Once the nation's largest airline, American's share of the domestic market has slipped from 22% to 19% in the past five years, partly because the CAB has kept it from expanding its routes at home as much as most other lines. Yet American has kept...
This being so, one of the tasks facing a director is to see that the legitimately rhetorical is not allowed to burgeon (or "escalate," to use up-to-date terminology) into the bombastic. It is all too easy for Julius Caesar, in performance, to turn into one long shouting match. The present production is not sufficiently free of this tendency. Fortissimo speech is not this troupe's strongpoint; and some of its playing goes so far out of control as to be totally unintelligible. Its actors need to learn that forcefulness is not necessarily directly proportional to loudness...
Watson's weakest moment is unfortunately his most famous one, when he addresses the Roman plebs at Caesar's funeral in the Forum. Here he lacks sincerity and sonority. The crowd, however, handles itself rather effectively in this scene, emitting a susurrus of suspense before Brutus' harangue, and erupting into noisy iterations of a metrically unison spondee-anapest pattern before Mark Antony...
Conrad Susa's incidental music is mostly just a series of sound effects. When Caesar's ghost appears to Brutus, Tharon Musser's eerie lighting makes it quite unnecessary to add the off-stage roll on the cymbal. And must we have another crude cymbal roll when Brutus runs on his sword? As a background to the aura of death at Philippi, Susa has also introduced on the harp an ostinato pattern from the Dies irae plainchant, which recalls the identical ostinato near the end of Rachmaninoff's tone-poem Isle of the Dead. At any rate, I suspect that...