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...inspects the set, a marvelous concoction by Joan Ferenchak, draped with a Brechtian-type banner reading "Figaro," and helps to roll out a rug. "These are two remarkable plays," Havergal says of Beaumarchais' The Barber of Seville and The Marriage of Figaro, "and the playwright was a wild, extraordinary man, a pamphleteer and a music teacher. But very soon after he wrote them, one was taken over by Rossini and the other by Mozart, and the operas effectively put a smokescreen over the originals. Cutting and combining the two plays gives the whole show a fascinating irony. The first play...

Author: By David B. Edelstein, | Title: All the World's A Stage: Giles Havergal Comes to the Loeb | 4/28/1978 | See Source »

Technically, The Trials of Brother Jero is rather simple. The one set, designed by Joan Ferenchak, furnishes a classic example of how to use the Mainstage's variable space to good advantage. The structure is simple--a wooden frame shack, covered with ostensible palm fronds, along with a similarly covered proscenium arch set off by blue backlighting; but when combined with the main acting area, a sand-covered expanse in front of Jero's home/church, the intended effect is achieved. No flashy techniques distinguish the lighting scheme. Another minor criticism can be directed at the music--the same fragment...

Author: By Mark Chaffie, | Title: A Sharp-Tongued Savior | 10/21/1977 | See Source »

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