Word: fergusons
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Dates: during 1960-1969
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...Craft Experimental Theatre, is full of today's fag minstrelsy. In this case, the setting is a Canadian men's prison. The inmates, three decidedly homosexual, the fourth forced to undergo the initiation, are the chorus. The star among them is Queenie. Played with bravura by Marlo Ferguson in a tarnished Carol Channing wig, he--or, as you begin to accept the play's terms, she--is an irrepressible performer, a one-man version of a Hasty Pudding show. The jokes are bad in a great, extravagant way. (One prisoner, dressed as Portia for a Christmas pageant, lamely explains away...
Shirt-Sleeve Mufti. Today irrigation pipes lace the fields around Kallia, as sprinklers shoot jets of fresh water high in the air. Massey-Ferguson cultivators dig furrows, and Kallia's first crop of yellow corn is sprouting. One acre has been set aside for a hydroponic plot. Nutrients and chemicals from a 60,000-gal-lon fiber-glass reservoir wash long rows of coal-black tuff, a cinderlike debris of volcanic lava brought from the Golan Heights. In the tuff are melon and tomato seeds that may, thanks to the hydroponic forced feeding, yield up to ten times...
William G. Ferguson, a former Poetry Editor of the Advocate, now the publisher of Pym-Randall Press in Cambridge and featured poet in the last issue of The Boston Review, will read from his work at 8 p.m. tonight in Strauss Common Room in the Yard...
...satisfy both needs makes up the story (although we don't learn this until the film ends); by showing how his warped vision limits the success of his life-style, Chabrol has created one of the few truly original and important single characters in recent narrative films (others are Ferguson in Hitchcock's Vertigo, John T. Chance in Hawks' Rio Bravo, Bannion in Lang's The Big Heat...
...Pantagleize roams on a darkened stage, amid more corpses than there are at the end of Hamlet, looking for an imaginary exit. Here is de Ghelderode's metaphor for modern existence: we are all dying in a trap without even knowing why. Miss Ebenstein's robust direction and Gordon Ferguson's fine acting wring every possible drop of pain from the jolting final scene...