Word: curtain
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Dates: during 1970-1979
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...better aesthetic judgment that one of the attractive, complicated, inhibited egotists would break out and change his lot, will find his fantasies acted out on stage. Though George-played commandingly by Tenniel Evans-shoots himself, Chekhov provides not one but two sets of happy young lovers at the final curtain. In the last act, the young wife, who has briefly left the old professor, remarks that on returning she feels like the ghostly Commendatore in Don Giovanni. As if by magic, the sunnier side of Mozart's spirit seems to possess Chekhov, and he awards men to his maids...
...horror that he is the illegitimate son of the chief oppressor, Montforte. Not only does this news test his divided loyalties, but it ruins his romance with the fair Elena, who is sympathetic to the Sicilians. With loud cries of "Vendetta!" the Sicilians overthrow Montforte at the final curtain...
...simplest and best way would be by having reviewers actually see a production. No, I don't mean walk to a theater, pick up their tickets, gaze at their programs, and wait for the curtain to go up. I mean see a production: see it from its earliest stages and stay with it through opening night. At Harvard a hodge-podge of theatrical groups exists, and yet the actual phases of production display a remarkable similarity across the board. If a critic wants to write truly knowledgeable reviews, that critic must begin with the institutional structures that fund theater...
...when he became convinced of Russia's industrial potential. So as Canadian-born, Cleveland-based Cyrus Eaton made and remade several industrial fortunes in steel, railroads and rubber over the years, he also worked for détente between the U.S. and the U.S.S.R.: traveling behind the Iron Curtain, playing host to Russian leaders when they visited the U.S., proposing trade deals and in 1957 assembling at his original home in Pugwash, Nova Scotia, one of the first international scientific conferences to discuss the dangers of nuclear disaster. Last week, when Eaton turned 90, he received congratulatory telegrams from...
Vigorous Egos. On occasion, the camera lets the speaker enlighten the audience at his own expense: Alfred Hitchcock's comparison of a murder in Torn Curtain with the holocaust of Auschwitz betrays a pompous misreading of history. Howard Hawks' decrying of self-consciousness is contradicted by the rigidities of Red River. For the most part, however, the directors are shown as canny and incorrodable professionals, sustained by vigorous memories and egos. Schickel makes no attempt to hide their flaws: Frank Capra often lurches from sentimentality to unabashed bathos; William Wellman, Raoul Walsh and Howard Hawks appear to have...