Word: freeland
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Dates: during 1970-1979
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...might say that about H.S.T. himself. Historian Richard Freeland, in The Truman Doctrine and the Origins of McCarthyism, argues that "the practices of McCarthyism were Truman's practices in cruder hands, just as the language of McCarthyism was Truman's language in less well-meaning voices." Charles Mee's recent Meeting at Potsdam portrays a vulpine Truman cynically deciding to drop the atom bomb on Hiroshima to frighten the Soviets rather than to vanquish an already prostrate enemy...
Choreographer Cassie Freeland's imaginative staging blends well with Berlin's direction, especially the more subtle examples of pantomime (which, again, is all too often obscured from the majority of the audience). In several instances, as in Littlechap's sword-swallowing and bullfighting sequences, it is crucial that each gesture be seen clearly, no matter how small or unimportant it might appear. For only then can one recognize all of the nuances of Kolzak's and the other performances, which were also enhanced by a good orchestra utilizing numerous sound effects, all under the direction of Barry Cohen...
...demanding his dinner ("he only thinks about love," she observed) or showing off the 40,049 babies he had made by himself in a single day, and Harris Saunders, as the Journalist, twirled his umbrella suavely as he threatened to expose his father. Best of all, perhaps, was Roger Freeland as the continually benevolent and continually bewildered gendarme...
...Freeland also stood out in the curtainraiser, a dull concert version of Purcell's Indian Queen, because he sang English instead of whatever tenors are singing when they roll their r's like guttural hyenas on second-rate recordings of Handel oratorios. Fuller and McCarthy also sang well; Lise Landis, the clown Apollinaire described in one of his less inspired couplets as "Zanzibar's Monsieur Lacouf/Who died and died again without saying ouf," joined Peter Kellogg in an entr'acte dance that was both comic and lyrical...
...outstanding job as the child. His voice is suited to the part, and his movements were extremely well done. He handled himself beautifully on stage, in a manner many adult actors might emulate. Jane Struss, who played three roles, was outstanding as she always is. Chalyce Brown, Roger Freeland, and Doyle Wilcox also handled multiple parts, and did them with great versatility and talent. Peter Wylde's staging of the production made optimal use of a small space, and Gerald Moshell's musical direction was top-flight...