Word: gareth
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...Jones, Gareth Stedman, "The History of US Imperialism," Ideology in Social Science (ed. by Robin Black-burn), New York, Vintage Books...
...principals was less consistent than that of the chorus. Ruth Vebelhoer, the sorceress, has a powerful and attractive voice, and she used both her voice and beautiful gestures well in communicating the sorceress' ghastliness. Of the two witches, Phyllis Wilner had the better disciplined voice; both she and Gareth Wellington sang sensitively, especially in their duet early in the second...
...past curses Gareth: it holds memories of a girl who loved him and whom he loved, but he could not get his peasant soul to stand upright and ask for her hand from her senator father, and she married someone else. Gareth's present, equally hard to stomach, is his own storekeeper father, for whom he works rather like an indentured servant. "Old Screwballs," as Gareth refers to him, is clench-lipped, word-shy, and sclerotically set in his ways. An evening with him is an unaltering ritual of despair: one cup of tea (never two), a game...
...Gareth must also fight a subtler kind of slavery. Before he can enter the jet, he must wrench himself from the womb of place. To be reborn, he must be unborn. He must blot out the streets and scents of Ballybeg. He must stop his ears against the voices of friends and their loutish camaraderie. He must stiffen in the embrace of the drunken schoolmaster, a surrogate father who has fed Gareth's blind yearnings as surely as his true father has starved his spirit. And he must face the vision of what he may become, in the person...
...with it. But Playwright Friel frequently and expertly applies the dry saving sponge of humor. Without O'Casey and Joyce, the play might have existed, but not so good a play. Friel utilizes reverie, flashback, and stream of consciousness, but his cleverest device is to divide Gareth O'Donnell into a public and private self played, respectively, by Patrick Bedford and Donal Donnelly. This palpable alter ego, invisible to the other characters, acts as a jazzy Greek chorus, a human pep pill, and a court jester. He laughs when the hero cries and cries when the hero laughs...