Word: director
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Dates: during 1970-1979
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Navarro's minor miracle restored his name to favor among the Eastern coaching establishment and so he decided to leave his self-imposed exile at the bequest of Princeton athletic director Royce N. Flippin...
...whore, Jenny. This, of course, is the role Lotte Lenya made famous, and it's central to the show. Marylou Ledden plays the part with sense--she catches the world-weariness in Brecht better than anyone else in the cast. But her inadequate singing must be the reason the director, Harvey Seifter, gives Jenny's big number, "Pirate Jenny," to Polly Peachum (Ann Titolo) instead. Well, directors have taken liberties with this script before, and Titolo sings the old favorite with spirit; but Jenny without her touching, spine-chilling "dreams of a kitchen maid," becomes just another plot-moving character...
...Holy Cross 28-20 16-11 (.593) ROB SIDORSKY Harvard 26-21 Yale 17-0 Cornell 15-14 Rutgers 28-14 Brown 28-24 15-12 (.556) DAN GIL Harvard 27-10 Penn 21-13 Cornell 23-21 Rutgers 24-14 Holy Cross 24-14 15-12 (.556) MARK DIRECTOR Harvard 34-10 Yale 27-13 Dartmouth 17-14 Rutgers 28-17 35-12 14-13 (.519) BILL SCHEFT Harvard 20-7 Yale 31-10 Cornell 17-16 Rutgers 27-11 Holy Cross 25-20 9-18 (.333) JOHN POWERS '70 Harvard 23-2 Yale 28-20 Cornell...
...versatile cast of singing actors. They don't have to be polished--gravelly, ugly voices suit Weill's music better than smooth ones, anyway. But they have to capture the sordid decadence that fills both text and music--they need a sense of atmosphere. The production fails because director and performers never secure this black mood...
...quickly break the spell. Brecht's script speaks directly enough, and Weill's music is brilliant enough, so that even a mediocre performance like Caravan's is worth seeing, especially if you've never seen the show before. But The Threepenny Opera ought to more than entertain; if the director, actors and musicians conspire aright, it can give you a whiff of death...