Word: directors
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Dates: during 1950-1959
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...should not stop at potentially dangerous ideas," stated Rabbi Maurice L. Zigmond, Director of Harvard Hillel. "We must study all the facts, for learning is basic, and learning gives the possibility of choice." Is it too optimistic to believe that such open inquiry will lead the Jew closer to Judaism? Zigmond says that he is not worried about Jews merely flirting with commitment "because there will be commitment at some time or another...
...choosing the first show, the C.D.F. naturally wanted a festive work of acknowledged merit. It settled on Twelfth Night and engaged the imaginative Herbert Berghof as director. Berghof, in keeping with the festive occasion, decided to turn the play into a "music and dance extravaganza." He employed as much music as possible, composed or arranged in neo-Elizabethan style by Andre Singer. He interpreted Malvolio's phrase, "the fool's zanies," as "the Fool's zanies," and created two new characters--a singing zany and a dancing zany--to accompany Feste the Fool. He also did some textual pruning...
...first Shakespearean assignment, director Jose Quintero made some miscalculations; but some of his staging was ingenious and effective, such as the scenes involving the spine-chilling trio of Weird Sisters. The show was visually gripping; and much of the credit must go to the lighting of David Hays '52, which was as inspired as I have seen in a long time...
...final offering of the C.D.F. was Much Ado About Nothing, with Sir John Gielgud as both Benedick and director. Gielgud gave us a clean, crisp, meticulous production, beautifully and symmetrically staged in keeping with the symmetrical, Renaissance style of the play. Having played Benedick off and on for 28 years, he gave a performance that was marvelously nuanced. Still, as he himself has admitted, he is not an ideal Benedick. The part demands more brio than he has inside him to give. He plays the clarinet when he should be blowing a trumpet. Yet he was careful to choose...
...Streetcar Named Desire, the better of Tennessee Williams' two great plays, forced director Rabb out of the realm where he belongs. Determined to find a "new" interpretation, Rabb supplied a long program note full of fuzzy theorizing and such ideas as: "Awe is antithetical to pity. Pity is indecisive; in awe there is no escape." In stripping Blanche DuBois of her nobility and routing out all traces of pity for her, Rabb distorted the play out of all proportion. As Blanche, Cavada Humphrey fought a losing battle, and was the only cast member even to attempt mastering a Southern accent...