Word: hart
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Dates: during 1970-1979
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...love Kaufman and Hart, and I love the thirties. But the Harpo production of You Can't Take It With You endows its characters with the fatal fruit of self-knowledge: it's a classic example of "camping." Instead of giving us the original and allowing the dislocation in time and space to provide the boffs, we are presented with a modern, hip conception of the thirties. The ingenue is not just "lovely, fresh, and young," as Messrs. K. and H. described her: Kent Wilson's Alice is a veritable Breck poster girl, a walking Palmolive ad, a cutie...
Some performances are exceptionally good. Sheila Hart's Penny Sycamore, the zany lady who becomes a playwright because a typewriter was mistakenly delivered to her address, is brilliantly performed: she has assimilated the character so well that her dialogue does not exist as lines, a guile-lessness making at once for high comedy and fine acting. Llody Schwartz's Kolenkhov is a natural scene-stealer. He pronounces "The Monte Carlo Ballet" with just the right Bela Lugosi intonation, he talks and gestures like a proud Rasputin fallen on bad times, and his Romanov leer is so hilariously Russian that...
...love to see a revival which captures the period rather than reproduces our preconceived, caricaturing impressions of it. You Can't Take It With You is still a funny play, and if you've never seen a Kaufman and Hart farce, you might trip on up to Agassiz. If only to hear the Andrews Sisters sing Bei Mir Bist Du Shoen during intermission...
Seneca's Oedpius is an exciting and challenging production. Much of the acting is very good. Shcila Hart as Iocasta and Jack Shea as Tiresias are particularly strong. Wakeen Ray-Riv's choreography is superb, and exploits the extremely-limited Agassiz stage to the fullest. Senclick's direction is intentionally upsetting. Yet it must be admitted that even a ritualized Theater of Cruclty cannot escape being theater. And as long as that is true, I prefer Sophocles's pretension to human reality to Seneca...
Testing showed significant psychological differences be tween long and short sleep ers. The shorts tended to be conformist and emo tionally stable: "a successful and relatively healthy bunch with very little overt psy-chopathology," says Hart mann. "Their entire life style involved keeping busy and avoiding psychological problems rather than facing them." They also awakened seldom during the night and arose in the morning refreshed and ready...