Word: larkin
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Dates: during 1950-1959
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...Producer Leonard Sillman seems to be restricting these shindigs to presidential-election years-is agreeably sassy and glossily intimate. If there is a serious weakness, it is much the weakness of New Faces of '52: the product isn't really up to the packaging. Peter Larkin, largely with airy spiral staircases and rows of slatted doors, has created gay all-purpose backgrounds, and Thomas Becher has brought to the costuming just the right lunacy or lure. The 19 new faces are often expressive as well as likable, the show moves pleasantly along, the turns vary considerably in style...
...only one department does Shangri-La achieve any sort of success: the fine sets designed by Peter Larkin and the costumes of Irene Sharaff make it one of the most handsome musicals ever. Yet it is still a failure, mostly because its authors were content to use the stage as little more than a lecture platform...
...anything ever experienced or observed; it makes sex-on the rare occasions it refers to it-seem rather like a good breakfast food. As Will, Andy Griffith has enormous lumpish charm; Roddy McDowall is just the right foil as his buddy, Myron McCormick an amusing, long-suffering sergeant. Peter Larkin's attractive sets are often amazing bits of engineering, and Director Morton Da Costa has polished the show to precisely the right roughness...
Thirty-one more characters, however, parade across the stage at various times. It is a tribute to Morton Da Costa's directing skill that they maneuver themselves so well. The sets, too, are a triumph. Peter Larkin's designs take the audience inside an airplane in mid-air--a really remarkable feat. All in all, No Time for Sergeants will amuse anyone who will ever have contact with military life, i.e., practically everybody...
...proves, in the final sense, a mixed blessing. In the fierce clash between Bryan and Darrow history supplies a more rousing scene than most dramatists could invent, and in Bryan's subsequent collapse a twist that few dramatists would dare to. And with the help of Peter Larkin's highly ingenious set, the play creates a graphic town picture of where once the embattled fundamentalist stood and started a ruckus heard 'round the world...