Word: flaws
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Dates: during 1960-1969
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Still, there are two over-riding reason for visiting this production. One is the wholly captivating portrayal of the Jove smitten Orlando by Donald Harron. A Critic should be wary of the work "perfect"; but, at the performance I attended, Harron had nary a flaw, and no other word will suffice. the second reason is the attractive young lady named Carrie Nye. As Celia, she is an unflaggingly buoyant and zestful confidante to her mistress Rosalind, and her words fall...
...grade system, however, has one flaw: it either warps (and sometimes ruins) the learning process, or, in the case of brilliant and unorthodox students, often fails to give a relevant report of their educations. In the first and more common case, the pressure of grades provides the dominant motive for studying, and influences strongly both the selection of material and the style of handling it. Worried about next week's hour exam and next month's final, the student often learns simply what he fears will be asked--and, what is a more subtle distortion, he learns to manipulate...
...weakness of the ending is presently the play's major flaw. The plot itself concludes quite brilliantly, but the actual transition to a finale is awkward. Menelaus has been losing out to rival Trojan fisheries ever since his wife was involved in a scandal for corrupting the morals of a minor (Paris). The Trojan War offers an easy way out for everyone: Helen gets her lover, Menelaus his market, Achilles his promotion stunt. . . . But Segal, somehow, doesn't get the scene which would logically conclude the show...
...menacing force did the performance last night. Long 9/8 measures contrast with abrupt triplets to overshadow with a barbaric grandeur the occasional lapses of style. Forbes even took the chorus too far in this direction, for after a rather stale opening the melodic line became jerky; but this flaw disappeared when the chorus greeted Creon and Tiresias with excellent dynamic control and superb forcefulness...
...with other modern composers, formlessness is Maxfield's most glaring flaw. In order to integrate chance into form, Maxfield cuts his tape into short segments which he then fits together without plan. In Peripateia either these segments were too short or the original tape had no contrasts. I felt that the piece was static and monotonous because it lacked 'events'--that is, a sequences of random happenings that would give a sense of succession of ideas or moods. At its worst, Maxfield's music has an over-blown, almost Mahlerian grandiloquence...