Word: liams
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Dates: during 1950-1959
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...West. In A Man Called Horse, beefy Ralph ("Picnic") Meeker turned up as an ignorant settler who had been handed over as a slave to a matriarchal Indian squaw. In The Annie MacGregor Story, a migrating Scottish clan drove off marauding Indians with their skirling pipes. In The Liam Fitzmorgan Story, a group of Celtic types learned about the vengeance of the Irish underground. By the time Bond got his charges to Sacramento, returned to St. Joe via sailboat around the Horn and started West once more to meet the samurai, his train had climbed steadily in the ratings. Last...
...must be able to speak with the voices of three women, a child, and a man. Lillian Aylward is in every way equal to her assignment, and achieves the necessary effects by altering her speech rhythms. The six supporting players, particularly Michael Linenthal as a pompous doctor and Liam Clancy as a skeptical Oxford student, also turn in fine performances...
...part of which must be fully apprehended before the play can be understood. Even then, the story of a poet who chooses a mysterious queen as the ideal figure of his verses, only to be beheaded by her jealous husband, is open to a multitude of different interpretations. But Liam Clancy, the poet, and Lew Petterson, the king, do violence to Yeats' poetry by speaking in a falsely declamatory manner. And John Lancaster's music usually conceals the playwright's words rather than underlining them...
...neither at its disposal, and even the excellent direction of Edward Thommen cannot keep the production from appearing cramped. Sitll, the play offers many rewarding moments. William Driver, who is clearly trained in the delivery of verse, makes a properly tragic Cuchulain, and William Cavness is a fine Cunchubar. Liam Clancy and Michael Linenthal once more distinguish themselves as, respectively, a Fool and a blind man. In this play, as well as in the evening as a whole, Poets' Theatre does more things right than wrong...
...awkward. On the other hand, Lillian Aylward, as Chamberlain's God-fearing wife, uses forth-right gestures and voice to create a strong characterization. As Oona, Cathleen's foster-mother, Gail Kepner shows perfectly adequate control of a dull part, but her attention, understandably, often wanders away from it. Liam Clancy, who looks like a feckless young Irish poet, plays one, but with mere wistful lyricism; his voice lacks distinction as much as his spirit lacks life. Finally, the two devils, despite their appropriate looks, need shape, and are neither enticing nor sympathetic nor humorous...