Word: juno
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DIED. James ("Jumbo") Elliott, 66, track and field coach at Villanova since 1935 who led the Wildcats to eight National Collegiate championships and coached 28 Olympians including five gold medalists; of a heart attack; in Juno Beach...
...sampling of R.S.C. fare in London and Stratford, where the company runs the Royal Shakespeare Theater and an experimental house called the Other Place, showed the company in hot pursuit of both ends of the spectrum. In London, besides the astonishing Nicholas, the company offered an excellent Juno and the Paycock, with a force-of-nature performance by Judi Dench, and, at the Warehouse, a shattering Trevor Nunn staging of The Three Sisters: spare, witty and primal, featuring extraordinary performances by three of the company's young comers (Emily Richard, Janet Dale, Suzanne Bertish) and some of its stalwarts...
...roles: actually dancers were costumed as the young girl who dances the prelude in Les Sylphides, the greedy virgin in Three Virgins and a Devil, the doll in Petrouchka, the Columbine in Carnaval, the eldest sister in Pillar of Fire, the stepmother in Fall River Legend, Juno in The Judgment of Paris, the fourth song in Dark Elegies, Queen Clementine in Bluebeard and the regal imperious Mother to such Princes in Swan Lake as Rudolf Nureyev and Anthony Dowell...
...masque celebrating the betrothal of the young lovers (which made the play especially apt for use in the marriage festivities of the daughter of James I), Ray Diffen has provided lovely gold-haloed costumes for the goddesses Iris, Ceres and Juno, who sing a terzetto by John Morris and oversee a pretty ballet of nymphs choreographed by Kathryn Posin (though Freedman has needlessly abridged the text in order to extend the singing and dancing--needlessly, since only The Comedy of Errors is shorter, and this production has a running-time of only two and a quarter hours...
...James, the statue unearthed in the gardens is of Juno, and when the Count falls in love with it, the Countess cleverly has it reinterred and saves her marriage. In Musgrave, the statue is Ariadne, but only her pedestal is found. The Count is seduced by her laments, which only he -and the audience (Ariadne's music is on pre-recorded tape)-can hear. He redeems himself through a sort of Wagnerian metamorphosis in which he firs thinks of himself as Theseus, then realizes that the Countess (splendidly sung by a young newcomer, Soprano Cynthia Clarey) is his real...