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Word: gelber (lookup in dictionary) (lookup stats)
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...Linus Z. Gelber is a psychology concentrator, so he found a phrase to describe what it takes to be an actor: "tolerance of ambiguity." Here's the ambiguity he faces right now: he is waiting to hear from the Circle in the Square Repertory Theater in New York and the British American Drama Academy in London. In about two weeks he will know, and if both answers are no, he will go to Dallas with senior Lisa Lindley, who is entering Southern Methodist University's acting school...

Author: By Victoria G.T. Bassetti, | Title: ...And It Pays Badly, Too | 6/11/1987 | See Source »

...going to pack all of our earthly belongings into a U-Haul and drive to Texas. We've never been there. We don't know anyone in Dallas. We are just going to go there," Gelber says. "Some people might find this terrifying. I find this terrifying. But we also think of this as an adventure. You could call it an adventure streak. you could call it a death wish...

Author: By Victoria G.T. Bassetti, | Title: ...And It Pays Badly, Too | 6/11/1987 | See Source »

Peter Ocko and Jennifer Cool are both wonderfully comic as Arnolphe's hapless servants. The best, most balanced performance in the supporting cast is that of Linus Gelber as Chrysalde, Arnolphe's sage friend...

Author: By Michael D. Shin, | Title: The School for Wives | 5/1/1987 | See Source »

...pity that the audience must wait until after intermission to hear Linus Gelber's interpretation of the Cockney manager Teddy, since there is such a temptation to duck out for a soothing whiskey and soda after the rant-athon. Teddy is the sort of conman with a heart of gold that Bob Hoskins might play, but I doubt he could do a better job of it than Gelber. Even if it sometimes sounds like he just got off boat yesterday, and his accent has more of the West Side than the West End in it, Gelber still pulls...

Author: By Cyrus M. Sanai, | Title: Harvard Theater | 4/15/1987 | See Source »

Given the close proximity of the audience and the actors, Evett should have toned down everyone's performance; even Gelber seems to imagine he is playing for 200 instead of 20 from time to time. Perhaps if Evett had found someone to direct himself, he could have achieved the glass-like clarity of Gelber's acting. After all, the only dramatic thing an actor can do in a one-character monologue is to slowly open a window into the character's soul; there's no dialogue, or conflict, or imagery to rely upon...

Author: By Cyrus M. Sanai, | Title: Harvard Theater | 4/15/1987 | See Source »

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