Word: juliets
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Romeo and Juliet (by William Shakespeare; a Dwight Deere Wiman production) seems Jess a play, to the world at large, than a great romantic legend. To the theater, it seems less a play than a part. No one produces it out of enthusiasm for its story alone. No one goes to see it because the Romeo is good, or stays home because he isn't. Everything centers on its not quite 14-year-old heroine; for lady stars, Juliet is a final goal and often a graveyard. There is a double hazard: the part demands the maturest art, must...
...time I got to the bar the women were standing around it in a tight circle, talking loudly to the other press agent, a short man in a tweed suit and a mustache. One of them smiled at me, brandished her drink, and said, "DeHaviland makes a beautiful Juliet. Vivien Leigh couldn't play Juliet to save her life." I smiled back and turned around to see the first press agent standing quietly in the corner, sloshing his Martini around in its glass. He looked up and smiled again, quickly. "Lunch is here," he said. I backed...
Whether or not this atmosphere is an asset in recordings is debatable. The present recordings, two long-playing discs, are not completely successful because often the super-sensitive microphones pick up unwanted sibillances and reverberations. But "Romeo and Juliet" is outstanding for other reasons: an excellent performance by a fine cast, and a delicate understanding of the use of music in aural presentation...
Three performances--Romeo, Juliet, and Mercutio--are thoroughly outstanding. Richard Waring's Romeo is gentle and sad at times, and passionate and exalted at others. His voice is wonderfully modulated throughout the two records, and is always distinct and full of meaning. In the role of Juliet, Eva Le Gallienne attains great emotional conviction with a voice that is both delicate and strong. Dennis King, as Mercutio, is spirited and fanciful, and always in the true spirit of the apart. For the most part the performances of the rest of the cast are above average, except for Preston Hanson, whose...
Tchaikowsky's "Romeo and Juliet" overture is used as a background for and a bridge between some of the scenes. George Cory's adaptation becomes an integral part of the production, and the only complaint that could be made is that there is not greater use of music, Music, more than "theatrical atmosphere," is the supreme cohesive force in play recordings and broadcasts. True theatricality can be achieved in recordings by the understanding use of the limited elements at hand, rather than by cutting the wax on an actual stage...