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...Warren Goldfarb as the Mikado seemed suited to reign over this ridiculous country, and made himself an integral part of the second act. The pacing never flagged, and the finale was strong and forceful. All told, it was a sterling performance of an old chestnut, one of the best this side of the Savoy...

Author: By Michael Ryan, | Title: Operettas The Mikado at Agassiz Theatre April 17-19; 23-25 | 4/18/1970 | See Source »

...pastel rectangles; small musical forces; restrained staging. The result unfortunately, was a complete contradiction of the medium. Spectacle was non-existent, and in spite of many moments of real humor, the production was about as uplifting as a grade-school Flag Day presentation. Conductor Brian Davenport and director Warren Goldfarb have resuscitated a period piece with all the respect but none of the imagination it deserves...

Author: By Robert G. Kopelson, | Title: The Fairy Queen | 4/24/1968 | See Source »

...Beta Kappa has announced the selection of the Junior Eight. The eight are: Robert A. Bush, Lowell House, History and Literature; Jonathan C. Cleary, Eliot, Folklore and Mythology; Warren D. Goldfarb, Lowell, Philosophy; Charles T. Hopkins Jr., Winthrop, English...

Author: NO WRITER ATTRIBUTED | Title: Junior Eight | 4/13/1968 | See Source »

Somewhere he writes "I'm the politic man, the poetic man, something for everyone"; maybe he expects too much of the written word. There are, unfortunately, parts of the Goldfarb corpus that imply that saying anything is saying enough, and that no invasion of the senses, if done in the presence of a large number of people, can be ennervating...

Author: By Stuart A. Davis, | Title: The Boston Review | 10/20/1966 | See Source »

...Goldfarb composes in breath-length lines -- lines that carry their own immediate weight. Robert Grenier's lines deny that weight exists; they are pure activity. Quoting him is unfair without quoting entirely one of the six poems included -- all, I think, written since he left Cambridge for the Iowa Workshop, from whence he travels this fall to Europe on an Amy Lowell Fellowship -- blut space won't permit it. "For Donald Justice," perhaps the best, is infinitely deeper and wholly more ambitious than early Grenier poems, which tended to be terse conversational fragments of point-blank incorporations of the physical...

Author: By Stuart A. Davis, | Title: The Boston Review | 10/20/1966 | See Source »

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