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Sullivan's music come through even more beautifully than Gilbert's words. Gerald Moshell evokes a full, singing tone from his fine orchestra, as is only proper, since Ruddigore has more than its share of set-apart showpieces--Thomas D. Fuller's hornpipe in the first act, the respectable caper Edith Marshall as a reformed Mad Margaret dances with Pell Osborn as a reformed wicked baronet in the second, the astonishing materialization of the Ruddigore ancestors, led by David Buchner, from their picture gallery--as well as a first-act finale that includes one madrigal, with lyrics about how nice...

Author: By Seth M. Kupferberg, | Title: Senseless Cheer | 5/7/1974 | See Source »

...Fuller's resounding tenor voice, and the startling facility with which he simultaneously seems cheerfully villainous and cheerfully solid--the salt of the earth, with which even the least courageous of British imperialists could hope to manage to rule the waves--make him an ideal antihero: he'd stand out even more if the rest of the cast, right down to the chorus, weren't so fine. Joshua J. Zimmerberg wheezes through his old retainer's role in high style. Kerry McCarthy is as good, as Rose Maybud, the soprano. And Douglas H. Hunt, as Fuller's foster-brother, trying...

Author: By Seth M. Kupferberg, | Title: Senseless Cheer | 5/7/1974 | See Source »

...above all the faces of actors Keith Carradine and Shelley Duvall, which are as beautiful in their simplicity and awkwardness as the country around them is in all its rural roughness. Both give excellent performances, but Duvall particularly makes a sparse role tease us with suggestions of a character fuller than the one we actually meet. These are simple people, whose interest is not in their complexity or in any hidden resources of character, as much as in the directness and intensity with which they face and feel life. We need to get to know them more gradually to appreciate...

Author: By Phil Patton, | Title: Honor Among Thieves? | 4/30/1974 | See Source »

...songs--a beautiful first-act cotillon about how Youth's the Season made for Joys, for instance--come through beautifully. They all help the ironic stylization virtually imposed on director Gene Lesser by the play's ironic, stylized speech--"Money, Wife," Mr. Peachum the fence explains, "is the true Fuller's Earth for Reputations, there is not a Spot or a Stain but what it can take...

Author: By Richard Shepro, | Title: Repertory With a Sting | 3/15/1974 | See Source »

...multiple accusations of lying to official investigative bodies is described in even fuller detail in the indictment, though the evidence leading the grand jury to believe that the statements were false is tantalizingly omitted. Several allegations of falsehood are charged even when a defendant testified that he could not recall an alleged act. Such accusations are difficult to sustain without documentary evidence or corroboration by several witnesses, and they are certain to be vigorously attacked by defense attorneys...

Author: /time Magazine | Title: WATERGATE: Seven Charged, a Report and a Briefcase | 3/11/1974 | See Source »

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