Word: lyricizing
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Today Blitzstein's work can be seen as period agitprop, analogous to Clifford Odets' Waiting for Lefty. It is colored with the lyric causticity of the Brecht-Weill collaborations. Yet it is always a mistake to deride the potency of stereotypes in the theater or the power of good-vs.-evil allegories, however simpleminded. Here the premise is that Mr. Mister (David Schramm), the boss of Steeltown, U.S.A., is a cigar-chomping tyrant, and his gutsy prole of a foe, Larry Foreman (Randle Mell), is a knight in blue-collar armor. We meet Mister's toadies: mousy...
...shaven bronze dome of a head, nautical beard and Queequeg-like mien, daintily stitching in a studio littered with harpoons and coot decoys, is one of the more striking images of role reversal the art world affords.) In fact, his imagination goes far beyond that: it has a sparkling, lyric quality, which comes not so much from preordained imagery as from the way he handles his materials...
GOOD ACTING OFTEN GETS WASTED in a bad play and that tragedy occurs in the Class Act Production's staging of Harold Pinter's The Caretaker, currently at the Lyric Stage Theater in Boston. Pre performances by the three-woman cast are high powered and believable, yet the characters they play are one dimensional and difficult to understand...
...retreat to the ordinary concerns of cinema. Last year's Palme d'Or winners, Missing from the U.S. and Yol from Turkey, played like news bulletins from Third World battlegrounds. This year's winner, Shohei Imamura's The Ballad of Narayama, is a harshly elemental lyric about Japanese mountain folk that could have been made any time in the past three decades. Two survivors of the international film wars won special consolations, Grand Prize for Cinema Creation: France's Robert Bresson for L 'Argent, a lucid, listless parable about how money corrupts...
...startled senior citizen, to Gilbert and Sullivan traditionalists-Can there be such a thing as a Gilbert and Sullivan radical?-and to anyone else who expected an orthodox production that was proper right down to the last parasol. There wasn't a bumbershoot of any description on the Lyric stage. No fans either. They were replaced with tokens and totems of the new pan-Orientalism: signs that blink out Sony, Seiko and, inevitably, Coca-Cola; NankiPoo (Tenor Neil Rosenshein), the wandering minstrel, transformed into a rocker with a red guitar; Yum-Yum (Soprano Michelle Harman-Gulick) in a flared...