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David B. Ansen of Beverly Hills, Calif. (English); Richard C. Backus of Goffstown, N.H. (English); Paul P. Hamburg of Great Neck, N.Y. (History); John A. Lithgow of Princeton, N.J. (History and Literature); James C. Pinney of Madison, Wisc. (Social Relations); Richard P. Rogers of New York (English); John M. Ross of New York (Social Relations); Christopher St. John of Weston, Mass. (History); Robert J. Samuelson of New York (Government) and David M. Schiller of Lynbrook, N.Y. (English), and Howard M. Slyter of Portland, Ore. (Social Relations...

Author: NO WRITER ATTRIBUTED | Title: Phi Beta Kappa Names 99 Seniors Honors Them in Ceremony Today | 6/13/1967 | See Source »

...John Lithgow's staging was restrained (for Lithgow) and stylized. His blocking moved well, and the choreography had moments of brilliance without upstaging the music. The panic preceding Cherubino's leap from the window, the third act choral dance, and the intricate comings and goings of the last scene were the best...

Author: By Stephen Hart, | Title: The Marriage of Figaro | 4/29/1967 | See Source »

Important as I take this flaw to be, it is not overwhelming, and Jones' later moments are almost atonement. John Lithgow as Sparky is, predictably enough, superb throughout as is Jack White as the changeable bargee. Roger Kozol who stood in for Ross as Hurst will, with any sort of justice, become a legend. It is said that he learned the part in one night and took an hour exam yesterday Kozol used a book, of course, but he was acting, not reading...

Author: By Charles F. Sabel, | Title: Serjeant Musgrave's Dance | 4/15/1967 | See Source »

First, the scenery. John Lithgow has built the play's four settings with a number of large flats, all but two of them reasonably realistic. The remaining two, used in every act, are unfortunate red concoctions resembling giant Jackson Pollack paintings; they seriously throw off the basic realism of both play and production. Also intruding on the believability of a Dublin tenement are strange hairy things which hang without visible purpose from the proscenium...

Author: By James. Lardner, | Title: Plough and the Stars | 3/25/1967 | See Source »

...more than physically confusing. It is enormous, so much so that any attempt to build intimacy among characters becomes impossible. Lithgow and director George Hamlin have left the Loeb's three-piece proscenium arch fully opened and have used a good deal of the available depth as well. The result is that actors who might look too small for their roles even on a normal stage are drowned in space...

Author: By James. Lardner, | Title: Plough and the Stars | 3/25/1967 | See Source »

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