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...force. Serban adroitly manages a welter of themes: aimless ambition, futile romance, grotesque distortions of honor, loneliness in a crowd. The play becomes the raucous comedy that Chekhov always insisted it was and hurtles exuberantly toward a triumph of optimism over experience. Among a solid cast, including Jeremy Geidt as the pathetic Chebutykin, three performers achieve fresh insight: Alvin Epstein as a hyperkinetic but somewhat dim Vershinin; Cheryl Giannini as a hard, petulant Masha; and Karen MacDonald as a vulgar, manipulative yet curiously sympathetic Natasha, the sister-in-law who drives the three sisters from their family home...

Author: /time Magazine | Title: Theater: Robert Brustein, Reinventing the Classics | 2/7/1983 | See Source »

...Geidt, director of public relations, said the group hopes the tour may encourage more foreign troupes to visit the Loeb in coming years...

Author: By Jacob M. Schlesinger, | Title: ART Heads For Europe, Middle East | 7/16/1982 | See Source »

...stars act impeccably. Grusin's twitching, hunched, sour-eyed Zoditch recalls a Scrooge who has out-eaten his suit size and suffers itching and cramping as a result. Benedict constructs a mournful, perpetually apologetic Chulkaturin who simultaneously invites scorn and nurturing, contempt and sympathy. In a lesser part, Jeremy Geidt plays a convincingly gruff, patriarchal Ozhogin, father to the object of Chulkaturin's clumsy and unrequited youthful affections...

Author: By Deborah K. Holines, | Title: A Tale of Two Outcasts | 3/17/1982 | See Source »

THIS SURVEY OUGHT to suggest that the ART does not play dirty with dramatic texts--or, as senior actor Jeremy Geidt put it when the company was still moving in, "We don't set Hamlet in Upper Silesia just because Upper Silesia happens to be fashionable. Yet the cry of academic theatergoers, at Harvard or anywhere else, resounds with the same refrain: stick to the text. And herein lies the root trouble with Brustein's vision of harmony between university and theater...

Author: By Scott A. Rosenberg, | Title: ART in Retrospect: Textual Ethics | 6/3/1981 | See Source »

Mostly, though, Has "Washington" Legs? happily serves as a vehicle for Frederick Neumann as John Bean and for ART's Jeremy Geidt, as Sir Flute Parsons. Here is Neumann, wrapped in a cloak and his own stoic machismo, surveying the troops at night--"I am afraid, Joe," he says deeply, slowly--and then doubling over in agony when told he cannot have the final cut: "You have cut off my balls, Joe. My Balls!" Here is Geidt, prancing on tiptoes, delivering an hilarious monologue on what America means to him (mostly strapping young boys), and miming his way through Washington...

Author: By Jonathon B. Propp, | Title: Myths, Movies and Men | 1/28/1981 | See Source »

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