Word: caste
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Dates: during 1950-1959
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...wonder of this sordid and symbolic tale is that it is suffused with compassion, heightened by the remarkable music Alban Berg wrote for it. The score, set in the tilted frame of nontonality, is carefully cast in a variety of classical musical forms: suite, passacaglia, sonata, fanatasie and fugue; scherzo, etc. The huge (113 instruments) orchestra sometimes bellows in brassy rages, sometimes shrieks in lines of shrill angularity, sometimes surprises with passages of softly breathing lyricism. The stark horror of the murder is conveyed in a howling, brassy crescendo in the orchestra that gives way abruptly to the tinselly tinkle...
...soared and swelled with enormous power; his acting had about it a quality of vibrant conviction that dominated the stage. Once he moved the house to bravos. Few in the audience realized that MacNeil was there for merely a one-shot appearance, was not given a rehearsal with the cast or orchestra. And few but La Scala's sharpest critical ears detected that MacNeil speaks no Italian, has to learn his roles by rote. Said MacNeil modestly: "There isn't much acting required; it's a kind of stand-there-and-bellow opera...
...enthusiastic performance, the large cast captured the spirit of this rollicking play and kept an appreciative Sanders audience at its fingertips. The evening was paced by the charm and voice of Vivi Thomas as Eileen and by the near-perfect performance of Jane Hallowell as the volatile Ruth. Miss Thomas' Eileen is saucy, gay, and captivating, and hers is the outstanding voice of the show. In the rare moments when the play lagged, Miss Hallowell's forceful humor picked up the action and lent the show new life. Perhaps the most triumphant moment came in the second act when Ruth...
Drumbeat and Song's recovery with Wonderful Town combines the talents of the two female leads with a strong supporting cast in what is one of this season's most ebullient productions. The only regrets of last night's appreciative audience concerned the brevity of the show's run and the modesty of the cast in ignoring the repeated cries of 'encore...
...directed to the feet of Oscar Fingall O'Flahertie Wills Wilde, who wrote the thing in the first place, using a conventional mistaken-identity farce as a platform from which to mount a deadpan, deadly, beautifully epigrammatic attack on the hypocrisy of a society which was soon, hypocritically, to cast...