Word: comic
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Dates: during 1960-1969
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...second one-acter called Witness finds McNally in fine comic and caustic fettle. Again a gagged victim is trussed up in a chair, this time a man. His captor (Joe Ponazecki) hopes to assassinate the President of the U.S. during a motorcade, and he wants a witness to his own sanity in committing the act. The stuff of madness has been crammed into this young would-be assassin's head, principally by avid newspaper reading and televiewing. He knows all about cabinet crises in Lebanon, but he doesn't know right from wrong. He hopes to resolve...
Rivals in Pleasure. That Gilles should remind Chastel of Bottom is no surprise, for both play essentially the same comic role. In the commedia dell' arte farces so popular in Watteau's day, Gilles, or Pierrot, was the simple-wilted country bumpkin, often a servant who pointed out the follies of his master and for his audacity got his ears boxed. But Watteau's dignified, wistful figure is aimed not at burlesque. In all probability it was intended as a portrait of a patron or friend...
Some sort of plausible ecclesiastical drama might have been made from The Shoes of the Fisherman; but too much of the script and too many of the characterizations are comic-book distortions...
...tedious arrangement by Fenno Heath of Donne's Death Be Not Proud. The Harvard Glee Club performed a less interesting program except for a mildly "modern" work by Thomas Beveridge. The Harvard group had a darker sound than Yale, better dynamic control, weaker top tenors, better phrasing, and better comic relief in the form of an accompanist who agonizingly wrenched childishly simple parts from his ill-starred piano. A final comparison is impossible since I shamelessly left before the inevitable spirituals and football songs...
Bedazzled--Stanley Donen off his stride, trying to pump comic life into the Faust legend. A movie with sparse laughs and nothing to say. At the ESQUIRE, Mass. Ave. on the Boston side of Harvard Square...