Word: lot
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Dates: during 1960-1969
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WHAT we remember of the fantasies of our childhood is what Walt Disney wanted us to remember. What millions of us know of Alice is what the fat guy in the gray suits and the slicked-back hair told us: "You can learn a lot of things from the flowers/Especially in the month of May." And Bambi and Sleeping Beauty and Snow White and the Seven Dwarfs. Disney always managed to squeeze out all the incongruities, anything that he could not understand. Then, distilled, it would be fed into the machine that made Mickey Mouse and Donald Duck and their...
...what has become the Superhero of the Sixties: he, of course, is Richard and Jenny's fifteen-year-old son. As played by Jack Simons, Roger is a kind of caustic Graduate. He is forced into combatting rampant evils like anti-Semitism with bewildered protests such as "Quite a lot of us are circumcised." (Try that at your parents' next bash.) From the audience's enthusiastic reception -- even though many looked suspiciously like their stage counter-parts -- it seems America finally does believe that there is indeed no such thing as a bad boy. Until he grows up and buys...
Romeo and Juliet, Franco Zeffirelli's second film, is an honorable job of audience, grabbing romanticism, a fascinating and valid reading of the text (particularly those parts which concern Juliet), and a hell of a lot...
THERE'S NOT A whole lot can be said about The Open Theatre and its concoction called The Serpent: A Ceremony. They both represent an infant theatrical form as yet more of a reaction against the purely verbal drama than a definite scheme for its undoing. The guiding principles of this reaction are few but give an idea of where the form may be heading. The author, if there has to be an author, is merely one rather docile element of the collaboration; that's to say he provides the words, if there have to be words. The effect...
...source, nature and existence of guilt, leaping back in time from James Earl Ray and Sirhan Sirhan to Cain. Ideas wander idly in and out of the action. At all point's the company stretches its physical resources to the limit, and proves itself an unusually well-coordinated lot. Although The Open Theatre doesn't go in for the acrobatics encouraged by Julian Beck and his crowd, these performers seem every bit as able as their Living Theatre counterparts. And The Serpent, truth to tell, is a good deal more involving than anything on the current Living Theatre repertory...