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Usage:

Unfortunately Deitch is not always true to the script and his accent sometimes sounds like Fu Manchu angry...

Author: By Charles F. Sabel, | Title: A Flea in Her Ear | 3/4/1967 | See Source »

...good. He has wisely used current Americanisms to give the language the proper effervescense and irreverance. To render the play in early twentieth century American would have been a gray business: nothing is as dead as dead slang. Senelick's greatest triumph is his version of a Spaniard (Daniel Deitch) speaking English. Gerund endings are assiduously dropped where they should be; b's and v's are assaulted with appropriate force...

Author: By Charles F. Sabel, | Title: A Flea in Her Ear | 3/4/1967 | See Source »

...Deitch makes no other mistakes. He has fire; he is the old time villain with skulking strikes and waving arms. The audience hears him off-stage and starts to chuckle. Elbows awhirl, tongue rattling, he jumps on-stage, and laughter twitches bellies...

Author: By Charles F. Sabel, | Title: A Flea in Her Ear | 3/4/1967 | See Source »

...lover as they go out to be tortured, and then flees. Of the others, one Sorbier (Dominic Meiman) commits suicide rather than talk, and a young boy (Edward Jay) is killed by his fellows rather than be permitted to talk. The three others in the cage, Henri (Daniel Deitch), Lucic (Kathryn Walker), and Canoris (John Appleby), endure torture, deliver a false confession to be set free, and then are killed at the whim of a Vichy officer...

Author: By George H. Rosen, | Title: The Victors | 11/18/1966 | See Source »

Babe's cast sustains this intensity except where Sartre's shoddy dramatization makes it impossible. Deitch as the cynical, frankly self-centered, intellectual Henri is magnificent. His swagger is far more powerful as potential than as actuality. A painfully trapped man, he smashes into walls and writhes futilely when tied to a chair of torture...

Author: By George H. Rosen, | Title: The Victors | 11/18/1966 | See Source »

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