Word: dictional
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Dates: during 1960-1969
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...Linda Marsh's Ophelia undergoes a miraculous transformation midway through the play. During most of the first act she is positively embarrassing, her diction sloppy and her affected gestures worse. But with the "mad scene," her acting undergoes as sharp a transformation as her appearance. She comes onstage with eyes bloodshot, voice quavering and she throws herself upon Horatio, unbuttoning her blouse, pulling up her skirt, then writhing on the stage she gives vent to the sexual impulses her father had ordered her to chain up. It is a powerful...
...happily, the Loeb reading does credit to the drama. John Lithgow as Edward does admirably in a difficult role, and dominates the evening. His Edward is perfectly true to Marlowe's--sensitive, sometimes indecisive, but consciously royal. Lithgow's diction, like everyone's, is almost perfect, though he stumbles too often in a few of his lines. But his voice covers the range between rage and self-pity easily, and his movements are the most effective in the show. His best moment--and the play's--is the death scene, where he communicates fully the terror of his murder...
...inexhaustible profundity beneath his face and eyes. His bearing; his gestures, his gait all strike unfailingly true. He is even careful to read the letter from Kukachin properly from right to left and top to bottom. If Quintero would allow him to forsake the occasional cracking falsettos in his diction, he would be perfect. Still, such subtle and rounded playing is rare on any stage. This man is every inch...
...person to play in two productions of Marco. His Ghazan has both grace and nobility. After his very first line, a woman behind me whispered to her companion, "Now there is a voice!" She was quite right: no other member of the Lincoln Center company can match his classical diction. And one hopes that, in another season, the Center will mount a classic in which this prowess can be more extensively tapped...
...longest in all drama. Robards' work in the past has varied from a transcendent Hickey in O'Neill's The Iceman Cometh to an abysmal attempt at Macbeth. But here he is playing at his best--a performance of enormous power and rich detail. At first I felt his diction was too monochromatic. But the wisdom of this became apparent when he burst forth later in the argument over tattling to Congress, or reacted to the news of Lou's suicide, or carried on the climactic battle with Maggie...