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...play's biggest role is that of Viola, who spends most of her time disguised as the boy Cesario, whence all the mistaken identity. Such stage disguises were common in Elizabethan times, since all female roles were played by young boys owing to the ban on actresses. And Shakespeare happened to have two extraordinarily gifted boy actors in his company at the turn of the century...

Author: By Caldwell Titcomb, | Title: 'Twelfth Night' Opens Twentieth Season | 7/1/1974 | See Source »

...quick shots focusing on a variety of stomachs for Alka-Seltzer, he spent ten days "interviewing abdomens," auditioned 40 belly dancers until he found one without stretch marks around her navel. In one three-second shot of a boxer battering the stomach of his opponent, he used Middleweights Johnny Cesario and Joey Archer. The scene was so realistic that Cesario, caught in the cheers of the extras, the smoke and the popping flash bulbs, confided during a break: "I can take this...

Author: /time Magazine | Title: Commercials: Master of the Mini-Ha-Ha | 11/24/1967 | See Source »

...duel between Andrew and Cesario offers a director a fine chance to show some comic inventiveness, and fortunately Hauser was up to it. Andrew begins the fight with a fencing manual in his left hand, and before you know it Cesario with up holding both swords. In a subsequent go-around Andrew is so afraid of opening his eyes that he finds himself blindly bashing against the sword hanging at Sir Toby's side. This whole skirmish is a howl...

Author: By Caldwell Titcomb, | Title: STRATFORD SHAKESPEARE FESTIVAL: II | 7/8/1966 | See Source »

Patricia Peardon makes a beautiful Olivia, though she is not at ease with her lines; and the veils she and her retinue wear when Viola-Cesario first visits her ought to be far less transparent. Elizabeth Parrish needs to invest the part of Olivia's maid Maria with more vivacity. Fabian, her male counterpart, fails in the hands of Julian Miller to leave much of any impression...

Author: By Caldwell Titcomb, | Title: STRATFORD SHAKESPEARE FESTIVAL: II | 7/8/1966 | See Source »

John Cunningham's Duke is clear but tepid. Adolph Caesar brings a rich voice to the Priest, but his make-believe senility is false. Stephen Pearlman's Antonio exhibits acrocious diction and no comprehension. And how could the director allow him to pass right by Viola-Cesario when exiting in pursuit of the look-alike Sebastian without Antonio's batting an eye? The suspension of disbelief can stretch only...

Author: By Caldwell Titcomb, | Title: STRATFORD SHAKESPEARE FESTIVAL: II | 7/8/1966 | See Source »

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