Word: julius
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Dates: during 1960-1969
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...compensate. In the past decade, Miss Hepburn has played Rosalind, Portia, Beatrice, and Viola--none with great success. Ryan has done Coriolanus professionally and other roles informally. The handwriting on the wall is clear. The fact that a movie star, Marlon Brando, gave us in the film version of Julius Caesar an Antony unlikely to be surpassed is no cause for a general Hollywood stampede to the Bard: Brando is a unique genius, probably the greatest acting talent our country has produced (come to think of it, I'd like to see him tackle Ryan's job). In the title...
...even make anything of Antony's one superb action in the play: the dispatching of Enobarbus' "chests and treasure" after the latter has deserted. I shall never cease to regret that Shakespeare didn't write another play covering Antony's life during the year between the end of Julius Caesar and the start of Antony and Cleopatra; there lay the stuff of a real high tragedy, a tale to compare with the analogous one of Aeneas and Dido...
Enobarbus displays the noble loyalty we associate with Horatio in Hamlet, the Bastard in King John, and the Earl of Kent in King Lear. His demise is the sole truly tragic aspect of this play; but one cannot call Antony a tragedy about Enobarbus as one can call Julius Caesar a tragedy about Brutus. Donald Davis' traversal of Enobarbus' famous Barge narration is not up to par, but his later scenes of repentance and death are powerful acting Rae Allen (Charmian), Will Geer (Agrippa), Claude Woolman (Menas), and Richard Waring (Sooth-sayer) are commendable in smaller parts; but Patrick Hires...
...presentation of the two plays, on August 18-20, will mark the first public performance of "Freud" in New England. Written by Ira Wallach, it is a parody of T.S. Eliot's "The Cocktail Party." John Kasdan '60-4 and Julius Novick '60 (who preferred to describe the play as a "travesty" rather than a "parody") will direct...
...Poland has won the cultural freedom for which October, 1956 Revolution was fought," Julius Kydrynski said at the International Seminar Forum last night. Although the capacity audience did not seem to share his feeling, the editor of Prezekroj indicated that Polish writers do not suffer from governmental suppression. What appears to be suppression, he stated, comes from Poles believing the attacked works are too controversial or unrepresentative of Polish sentiment...