Word: keller
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Dates: during 1960-1969
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...weakness of A Far Country is a structural clash between Freud's play and Elizabeth's story. Part of the trouble is that where, in another kind of Miracle Worker, Helen Keller and Anne Sullivan are glued inside one consuming relationship, things are quite different here. Elizabeth is but a person, a case history, in the career of a personage, a revolutionizer of history. But trouble lies also in the stage itself which, unlike a book, cannot bring everything into focus by having everything-including Elizabeth's story-seen through Freud's eyes. Hence not Freud...
According to Anthony S. Keller '62, the Adams House director, the additional charges will be a serious and unanticipated strain on the group's funds, which are "always hard to come by." In addition, he charged that the additional expenses coupled with competition from the Pudding, "makes it very tough on House drama club...
Miller's intention in All My Sons is to show that a man's public acts and responsibilities are inseparable from his private ones, that he is as responsible to all mankind as he is to his family. Joe Keller is the owner of a factory which sold defective airplane parts to the army in World War II, managing to kill some American flyers. Passing the responsibility off onto his innocent partner, he escapes a jail sentence and lives scot free but heavy hearted in his "American town." Both his sons fought in the War--the elder lost...
...Keller family, despite its typical appearance, is in a bad way, Joe is a murderer Chris, the son, is an idealistic capitalist-to-be: and Mrs. Keller is a neurotic (she has migraine headaches and insists her son is still alive). Chris wants to marry Ann Deever, his brother's former sweetheart and, by the way, the daughter of his father's partner. Chris discovers his father's guilt and is disillusioned; Joe discovers that his older son had committed suicide when he heard about his father's crime, and shoots himself...
...Charles Playhouse production is not good enough to overcome the play's weaknesses. John McQuade conveyed less of of Keller's toughness than of his nervous guilt (perhaps the nervousness was McQuade's), and Alan Bergmann was properly intense and idealistic as Chris, though the character seemed somewhat more stupid than he should have. Sylvia Davis as Kate Keller was generally unconvincing. There were, in spite of it all, a few very powerful scenes...