Word: hamme
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Nonetheless the music had its bright spots. Sensitive playing from violinist Richard Hamm and cellist Steven Gates sparked an otherwise lack-lustre orchestra. Sopranos Jane Devitt and Made-laine Rembock displayed powerful but well-controlled voices, while alto Gail Feinberg sang everything with a pubescent, lower-class tone that was instant comic relief. Tenor Larry Bakst, looking more embarrassed than most in his sparse neo-Athenian garb, nonetheless gave out a pure, well-modulated Russell Oberlin-like sound that was the surprise joy of the evening. The chorus acquitted itself energetically, though its acting and stage deportment matched the sophistication...
...from an overwhelming triumph. The Haydn and the Milhaud suffered from problems of balance; the brass and the percussion were the respective offenders. Intonation in the Haydn was poor. Accompaniment figures in the violas were almost polytonal, and in spite of stalwarts like Street, Lisa Sandow and Richard Hamm, the strings evinced the same raw amateur sound that has plagued the Bach Society for years. Only in the humor of the finale's coda did the work manage to come alive...
CHINA by Emit Schulthess. 248 pages. Viking. $25. This opulent book of 165 splendid photographs, taken by Swiss-born Photojournalist Schulthess and supplemented by even-handed essays from Author Edgar Snow, German Journalist Harry Hamm and Professor Emil Egli, is about as close as most Americans will get to China this year. The photos, like China itself, seem timeless: men and women straining to haul boats upriver against a driving current, bent-backed peasants at labor in the fields, students planting trees, Mongolian horsemen racing across the steppe. And everywhere, plump wide-eyed children...
...characters only mouth rhetoric at a breath-taking pace--yet somehow a consistency works its way out of the cross-fire of symbolism and suggesion. The situation, the action, and above all the language conspire to assure the audience that the play does indeed have ulterior meaning however obscure. Hamm's awful dilemma seems to arise partly from his grotesque alienation from nature ("show me the sea!" he asks over and over) and partly from his urge to interpret anything--or everything--in the metaphor of theater. "We are getting on, we are getting on," he tells the audience...
...Theater Company has clearly expended a great deal of energy on this production. Dustin Hoffman as Clov, Frank Cassidy as Hamm, and Jerry Gershman and Naomi Thornton as Nagg and Nell all act with discipline and tact in a play that tempts them to noise and ranting. The set, by Alexander Pertzoff, is properly absurd. And David Wheeler's direction perfectly exploits the strength of this kind of theater. Experiencing Endgame is in a way like walking into the monastery chapel a few blocks down from Eliot House: we are thrown into another world and made to forget...