Word: kopital
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
William W. Kates '59, of Eliot House and Amherst, Stephen I. Klass '59, of Kirkland House and Sierra Vista, Ariz., Arthur L. Kopit '59, of Dunster House and Lawrence, N.Y., Bernard R. Kripke '59, of Eliot House and Scarsdale, N.Y., Nathaniel H. Leff '59, of Dunster House and Brookline, Stephen A. Lerner '59, of Lowell House and Chicago, III., Robert W. LeVine '59, of Winthrop House and Newton Center, Robert T. Lewit '59, of Adams House and Orange, N.J., Robert W. McCarley '59, of Kirkland House and Mayfield, Ky., Gerald L. Mackler '59, of Lowell House and West Hartford...
Daniel M. Fox '59, of Leverett House and New York City, and Arthur L. Kopit '59, of Dunster House and Lawrence, New York, have received Henry Russell Shaw Traveling Fellowships...
...Dwell In A Palace of Strangers is obviously Kopit's most ambitious published work to date. The segment printed in The Advocate is more suggestive than satisfying--yet one must make allowances for First Acts because, in establishing characters and their relations to each other, a playwright must talk and explain. Hopefully, Kopit's audience will find in the unfinished play a meaning and point of view that his earlier work has lacked...
Certainly he gives indications he will provide. Set in a place somewhere in Louisiana that is not altogether unlike a Williams, a Faulkner, a Welty locale, Kopit's play concerns the visit of an old school friend to the home of a robust insurance man, his supremely sensitive wife, and their brattish children. The visitor, Emmanuel Moon, a graciously sinister spectre, says he has come to collect on an adolescent promise made by George "Chopper" Feering, a raging "bull" who raised living standards in the country by convincing dying old men to buy insurance instead of medical care...
Mannie's character is unfortunately undeveloped thus far; Joanna, ignorant of Chopper's past relations with Mannie, seems unduly and too suddenly horrified by the cat's screech; and the southern lingo seems unnecessary because any director knows how white trash talks without Kopit's telling him. But the play moves quickly and convincingly, perhaps as an aping of Williams, but not without its own vigor...