Word: lefts
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Dates: during 1960-1969
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...much; we were so eager to answer their questions. And soon, our world was gone. Some of us became Marxists, and some of us became capitalists; we talked about our past, as I am talking now, as though it were the present. We gave ourselves up, and we are left with a feeling of being lost. Perhaps every class feels that way, perhaps every person feels that when when he is 22. That does not make it any less important to us; it is the first time we have felt that way, and it is impossible for us to experience...
...keeping, with Kahn's playground concept, Karl Eigsti has designed a large frame with a tall swing suspended at the stage-right side and a sort of jungle-gym at stage-left. Then there are some red mental barrels, used now to sit on, now to pound on, now to warm cold hands over...
...wholly admirable. At the performance I attended, Carious was clearly off form in the noble "Saint Crispian" speech (scene caption, if you can believe it: "The Machine Creates the Believable Lie; Point of No Return"). In the line "We few, we happy few, we band of brothers," he even left out the middle phrase, which is probably the most famous phrase in the entire play...
Kristoffer Tabori is most appealing as the young smooth-cheeked sidekick that Pistol inherited from the dead Falstaff. (Whereas Shakespeare designates him simply as "Boy," the program calls him "Davy," through Davy in 2 Henry IV was Justice Shallow's servant and not Falstaff's). When the Boy is left alone with a field of corpses, he slowly wanders about, deeply, shaken and unhardened by his hands. Espying the approach of two enemy French soldiers, he scampers up the jungle-gym. But the soldiers pursue and overtake him, coldly spear him, and depart leaving one more corpse on the silent...
...ghostly white mask splotched with fresh blood. Finally the King intones the incipit of a Te Deum, and the ghostly choir picks it up in unison and, in the manner of the Living Theatre, moves down-stage to face the audience in a long row, humming and swaying from left to right--an inspired fusion of the quick and the dead. The effect of this scene is shattering and unforgettable. But, as with the traitors' pantomime, Kahn indulges himself too much and keeps the masks on the men right through to the end of the show, including the light-hearted...