Word: macbeths
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Dates: during 1960-1969
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...formed Caedmon* Records to produce talking records that would not talk down to their audience. Her partner: Barbara Cohen, a classmate at New York City's Hunter College. Last week, eight years and some 200 releases later, the latest Caedmon albums were on sale: three Shakespeare dramas, Macbeth, The Taming of the Shrew, Othello, the opening installments of an impressive recording project. Within four years, the partners hope to produce 34 other plays, all with topnotch casts, adding up to the first complete professional Shakespeare on records...
...Manhattan office only a couple of times a week to supervise some 100 pending releases. For their Shakespeare project, Partner Mantell went to London last summer to round up talent, much of it from the Old Vic and other repertory companies. Their curtain raiser is a moving and brilliant Macbeth, starring Anthony Quayle and Gwen Ffrangcon-Davies. The two-hour, two-record production was followed by Othello, with Cyril Cusack and Frank Silvera; and The Taming of the Shrew, with Margaret Leighton and Trevor Howard. Early next month: Sir John Gielgud's The Winter's Tale...
...cover slash); 5) Caliban; 6) Hamlet (with Yorick); 7) King Lear; 8) & 9) Antony and Cleopatra; 10) & 11) Petruchio and the shrew he tamed, Katharina; 12) Ophelia; 13) & 14) Othello and his ill-fated wife, Desdemona; 15) & 16) Juliet and Romeo; 17) a gravedigger from Hamlet; 18) & 19) Macbeth and Lady Macbeth; 20), 21) & 22) the three witches from Macbeth, stirring their boiling cauldron; 23) & 24) Bottom, the weaver, and Queen Titania under the influence of Puck...
...funeral, and Laertes had no pact with the King to kill Hamlet. As far as the public was concerned, it was a case of mime over matter; audiences thrilled to volcanic Edmund Kean playing Tate's sugar-coated Lear, and demanded that mesmeric Sarah Siddons ring down Macbeth on the sleepwalking scene in her farewell appearance...
...with the emergence of the contrasting twin giants: John Gielgud, whose melodious, grief-numbed Hamlet was this generation's finest, and Laurence Olivier, whose body English makes him Shakespeare's Angry Young Man, forever Hotspur, whether he is a sinuously satanic Richard III, a black-as-thunder Macbeth, or a plangent patriot King, Henry V. Not far behind these triumphs are Maurice Evans' sterling-silver-tongued Richard II, Ralph Richardson's roguishly intelligent Falstaff and Michael Redgrave's mettlesome, love-ravished Antony. They are the leaders of today's functional Shakespeare, in which action...