Word: casts
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Dates: during 1950-1959
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...first script, written by Robert MacDonald and directed by Zandy Moore, was almost painfully unsuccessful. Though Mr. Moore's direction seemed insensitive and obvious, it must be realized that his cast is almost completely inexperienced and he had only two weeks of rehearsal time. Mr. MacDonald's script is overwritten and forced. Instead of creating recognizable people in a recognizable human situation, he portrays a cast of perfectly typed characters for whom one can feel no sympathy or concern. The actors lack any feeling of dramatic reaction to one another. One can almost see them thinking about their cues...
...complex ideas, patterns, and symbols into a coherent performance appears an almost overwhelming task, but Aaron has managed it. His skill in shaping the play by guiding the actors to proper emphasis at the proper moment is that of a master. Masterly, too, is his ingenuity in placing the cast in an almost endless sequence of exciting visual patterns within the limits of John Ratte's fine...
...defined of the three, but Sullivan succeeds in drawing a sharply-edged portrait of a tragic character. His performance is suffused with pity for the man--but just the right amount. The performance clearly is the product of much thought and insight. And the only other member of the cast, Robert Hesse, shows in his brief appearance as a guard that his work is promising...
Aided by a witty script adapted from the Broadway play, the small cast carries off the film with a light touch and rapid pace, yet with a certain feel for real situations and natural reactions. David Niven is marvelously and hilariously restrained as the psychoanalyst who is not quite so tolerant of human inconsistencies when he discovers that his own fiancee has had a very interesting past. Barbara Rush plays his slightly tarnished True Love with typical feminine capriciousness. Ginger Rogers is very funny indeed as the wife who regularly pours out her troubles to her psychoanalyst...
...Adieux that proved that M. Barrault's purpose is more than just putting on plays. In this most delightful conclusion of the Company's program, the whole cast appeared in formal dress to recite poetry and display their art in its purest form, without scenery, costumes or an imposing vehicle. They ran the gamut from the most subtle verbal effects to no words at all. Barrault's final pantomimes were the epitome of freedom within a highly stylized form. Compared to Marcel Marceau his mime was less delicate and less detailed but it had energy, spontaneity and excitement that Marceau...