Word: hamlin
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Dates: during 1970-1979
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...selected by the members of the course) as a class exercise and will eventually present it in the Loeb Ex in the spring. Hum 96v is one of the only courses for credit at Harvard which includes some practical work in the theatre. (The others are: George Hamlin's freshman seminar in acting, William Alfred's course in writing plays, and a Vis Stud seminar-workshop in design for the stage given by Franco Colavecchia...
...succession of Forty, Count em, Forty, Swiftly Moving and Breathtakingly Dramatic Scenes-See D'Artagnan outwit the Cardinal's guards! See Milady de Winter steal the Queen's jewels from the Duke of Buckingham! See Con-stance, wife of Bonacieux, drink the fatal glass of wine!-George Hamlin's current Loeb production works up virtually every type of scene Polonius could ever want to see. It's a Baskin-Robbins approach to theatre and it includes nigh unto every flavor known...
...insidious Richelieu, has outlawed the duel, his gallant musketeers still try to work through worn-out codes of loyalty and honor, something that the Cardinal's guards don't share. As a result, every duel devolves into chaos and confusion. And also a good deal of fun. Hamlin's actors seem to have jumped into the project with as much enthusiasm as Tom Sawyer's gang out on a midnight patrol-Tom, you'll remember, was himself something of a Dumas freak-and though it's all still as ridiculous and decadent as even Mark Twain could...
...think such juvenile delights are all this play has to offer; it's also got its outright adolescent side. Hamlin directs the love affair between the French Queen Anne (Innes-Fergus McDade) and the British Duke of Buckingham (Robert McCleary)-"one of those streaks of fate that change the course of history" we are told-with a delicate seriousness that makes it all the more wonderfully ludicrous. Anne protests that she can't possibly love the Duke because they have "only had 3 meetings in the last 4 years," but minutes later ends up forking over to him jewels given...
...always beneficial to the unity of the whole. Richelieu's conspiracies almost seem lifted from another, more serious play, for it's hard to fear him as the villain he is when those characters he threatens are viewed with a good deal more irony and humor. Similarly, Hamlin has difficulties combining individual scenes into a fluid progression. Often he wastes time opening scenes with touches of realistic detail that can only serve to remind us of the artificiality of the entire venture. Only at the beginning of the second act does a quick sequence of vignettes suggest the texture...