Word: casted
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Dates: during 1970-1979
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...supporting cast of Midnight Express complements Davis's performance by providing appropriate counterpoints to his character and acting style. Randy Quaid in particular shines as Jimmy Booth, the slightly psychotic American imprisoned for stealing two candlesticks from a Turkish mosque. Like the other actors in the movie. Quaid has taken on a challenging role, a character whose overwhelming survival instincts constantly inspire new getaway plans while a consuming cynicism eats away any remaining humanity left in him. Jimmy Booth's tough-as-nails bearing clashes with the injured pride of Billy when they first meet in the prison courtyard...
...cent overnight. And the schedule, which calls for two shows on one night for each of the three-week run, is almost as bad as asking a pitcher to start both ends of a doubleheader. The show runs a whopping two hours and forty-five minutes, and asking any cast to do that twice in a night is pushing matters...
Although Guys and Dolls, when done right, features a cast filled with amiable sidekicks, the leads must carry the show, for they have the bulk of the dialogue, not to mention the songs. In this production, happily, one of the four leads is flawless and the other three are perfectly adequate or better. Crystal Terry, as Adelaide, the faithful and dumb eternal fiancee, provides the best musical performance I have seen at Harvard. Terry boasts a marvelous voice and uncannily sharp timing--and can dance, too. All these talents, combined with her formidable stage presence, make for a great...
THEN COMES the fine supporting cast, all of whom perform up to expectations. Most House shows would be hard pressed to come up with leads as good as this supporting cast: Shipley Munson and David Frutkoff form a fine duo as Nathan's sidekicks, and their rendition of the title song is as good as any. Among the others, Jim Mulqueeny, Michael der Manuelian, Kerry Konrad and Marc Johnson strut their stuff with authority...
...film is plainly a tribute to Igmar Bergman, the master at expressing intense emotion and psychological drama on film. Allen emulates Bergman as a student would imitate the master of his craft. The effort, though somewhat over-wrought, like that of a too-careful student, succeeds. A talented cast, well-directed, saves the heavy screenplay from sinking into murky melodrama. Mary Beth Hurt, as the youngest daughter, the one with "all the anguish of an artistic personality without any of the talent," is especially good in her film debut. And Geraldine Page evokes the neurotic woman "too perfect to live...