Word: lithgow
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...gory combat. The changing room is where they come and go from their catchpenny Armageddon. In Act I, the men perform their initiation rites, strip down, loosen muscles, get into their uniforms. In Act II, they come off the field of combat, boy-toy soldiers, some broken (George Lithgow) all muddy and bloody. In Act III, after a late-minute victory, they are roaring, towel-flipping conventioneers with a communal shower for champagne...
...companies have put into service twelve ships of 200,000 tons or more-called "oilbergs"-and they have 170 more on order in yards from Bilbao to Yokohama. Last week California Standard contracted for a pair of 260,000-tonners from Japan's Mitsubishi. Britain's Scott Lithgow group two weeks ago landed its first order for an oilberg, a 250,000-tonner to be constructed for Anglo Norness, a Bermuda-based shipping company. The builder will launch the huge ship in two sections and weld them together in the water. "We don't know which half...
...plotless show in dead voices doesn't leave performers much room. John Lithgow as Lincoln was the only member of the able cast called upon to act. His Lincoln had a frontier body and a lawyer's voice. The excessive makeup limited his face somewhat, but his Abe was a spark of life in a dead play. Kirstein, however, gave him nothing to live for so he went out and had himself shot...
Their paces are admirable. The production is remarkably finished for a repertory company opening night. Every element works toward lucid characterizations. Everingham stands the characters in close confrontation: Raskolnikov (Paul Glaser) who murders to test a philosophy, stands in a limp full shirt and baggy trousers next to John Lithgow's ramrod prissy Luzhin, the rich, hollow financee of Raskolnikov's sister. The lines of character like the lines of John Braden's sets are balanced, clear and instantly defined. Bea Paipert creates two brief roles, the hunched, old pawnbroker Raskolnikov kills and a crazy madam at a police station...
...principals hardly do the lines justice, but many of the secondaries do. Lawrence Senelick has studied his Pistols and Shallows until he has assembled the whole bag of Shakespearean character tricks, and he executes them perfectly. John Lithgow makes an engaging brother to Tom Jones, who carries off the villain's part with great authority. And Sheila Hart, if she would sharpen her diction a bit, would make a perfect world-weary mother...