Word: casted
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Dates: during 1970-1979
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...among Shakespeare's histories. And among performances of Shakespeare, the Mather Drama Society's production does not stand out either. But strong performances by Jon Isham as Phillip the Bastard and Alexander Coxe Pearson as King John hold the play together. The major strengths in director Katherine Ashton's cast offset the weaknesses in Shakespeare's work to make this King John worth seeing...
Clarity of expression, always an important consideration in a production of Shakespeare, seems to bother the supporting cast more than the leads. Faulty staging loses some lines to the dining hall windows, and other phrases disappeared down minor characters' throats...
King John addresses the disruptive effects of the tension between monarchy and the Catholic Church, and the pull of "Commodity" (convenience) against loyalty. Pearson aptly conveys this struggle and Isham provides striking and personable contrast. Unfortunately, unclear motivations in the supporting cast and unrevealing lines by Shakespeare leave a less entertaining second half...
...inhabit the House dining halls and common rooms every fall and every spring, and that also seems to be the only reason for this production of Brel. A modestly talented group of performers has taken on the challenge of resurrecting Brel's seedy, French-night-club spirit, and both cast and audiences seem mildly intrigued by the subject. But the production has no pretense of saying something new and provocative about Brel, or in fact saying anything about him at all; and the sparse attendance at last Saturday night's performance ought to suggest that there's less than...
...CAST is all competent--you don't cringe at any of the singing, even if you do at some of the French pronunciation in the untranslated opening number--but only one singer stands out. David McIntosh's leering, contorted expressions and jerky, stage presence give no hint of the size, strength and confidence of his baritone voice. His solos, "Mathilde" and "Amsterdam," demand the most stamina and brashness of the Brel songs in this show, and McIntosh has plenty of both. In "Amsterdam," a lurid ballad of drunken sailors, he bellows the lines with as much force and volume...