Word: hamlin
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Harvard also entered a junior varsity quintet in the four with race, and the boat finished fourth, just behind the other Harvard boat. JV oarsmen Monk Terry and Charlie Hamlin entered the pair without race, finished third...
...George Hamlin makes the father of the family lively and sympathetic in this Harvard production. Nancy Cox is a prattling wife and mother, Mary Moss a disgruntled daughter, and James Shuman slides and glides through the evening as the dumb schmurz. On all counts, this is one of the most interesting and satisfying productions the Harvard Dramatic Club has done in the last 15 years...
...this evaluation of the finest moments of this production seems essentially noncommittal, it is because the production offers no further evidence upon which to base a judgement. Moss and Hamlin move to a confrontation with the text, a testing of the values of the playscript in terms of the demands of a real stage and a live audience, but sadly, the confrontation never takes place. The quality of the play remains an open question, not to be resolved on the Loeb stage. The production is finally a mixed bag, triumphant in many of its details, but so deeply divided against...
...third act, Hamlin is not alone on stage. He performs his play by Boris Vian stage right, while another talented performer, James Shuman, works at cross purposes stage-left. Hamlin portrays a character by Vian, and addled, compulsively verbal middle-class householder, who in the course of preceding acts has involuntarily sloughed all life's amenities, from family to furniture, and who, alone at last, must consider himself. Shuman, portraying The Smurtz, is a character from a play by Leland Moss, based, as they say in the movies, on an idea by Boris Vian. While Hamlin agonizes, Shuman methodically constructs...
...comic and pathetic folly are the forces of materialism and cultural prostitution. Shuman does his turn admirably. Looking for all the world like an afternoon at the Broadway Super-Market, he graphically mimes both pain and self-absorption. But at the point in the third act when he and Hamlin finally stand face to face, no amount of individual stagecraft can forestall the recognition that they are acting in different plays. Hamlin, for better or whose, is playing a text about an individual's realization that progress is an illusion and a cheat. Shuman is playing an elaborate directorial conceit...