Word: juliuses
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STRATFORD, Conn.--When the American Shakespeare Theatre opened here in 1955, it offered productions of Julius Caesar and The Tempest. Whether by coincidence or design, the current season consists of the same brace of plays, augmented by a revival of last summer's staging of Twelfth Night...
Further dispute erupted over Tanzania's invasion of neighboring Uganda, which overthrew the notorious regime of Dictator Idi Amin Dada. Sudan's President, Gaafar Nimeiri, led a prolonged attack against Tanzanian President Julius Nyerere, accusing him of setting a dangerous precedent by "taking to the sword" to overthrow Amin. Uganda's new President, Godfrey Binaisa, won some sympathy and a few laughs with his assurances that Tanzanian troops had been warmly welcomed when they "liberated" Kampala. "Our girls made love to them," he said. "What further evidence of solidarity do you want?" But Binaisa followed Nyerere...
...writers typed them. When one of the cast inquired politely about the plot, Director Michael Curtiz shouted, "Actors! Actors! They want to know everything." Ingrid Bergman complained that she did not know how to act toward the two men because she didn't know her fate. Screenwriter Julius Epstein told her simply, "As soon as we know, we'll let you know." Finally, the director decided to shoot both endings. The first exit-Bergman flying off with Henreid-left Bogart looking so good and noble and selfless that the second ending was never filmed. Though Bogart lost...
Still, this is a daring show that sustains interest unflaggingly throughout its running-time of two-and-a-half hours. The greatcritic James Agate once wrote of Julius Caesar: "The play's second half is one long anti-climax. Shakespeare left his play in two halves which no company of actors, however skillful can succeed in putting together." Were he alive and here, I think Agate would change his mind...
Playing in repertory with Julius Caesar (and shortly to be joined by The Tempest) is a revival of the production of Twelfth Night, set in the 18th century, that Freedman directed here last season, and about which I wrote at some length in these pages (July...