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...long. Welles was 16 when he talked his way into his first starring role at Dublin's Gate Theater; 18 when he toured the U.S. as Mercutio in Katharine Cornell's version of Romeo and Juliet; 20 when he wowed New York by staging an all-black Macbeth; 22 when he became the celebrated radio voice of Lamont Cranston ("The Shadow knows!"); 23 when he touched off a national panic with his broadcast of a Martian invasion in H.G. Wells' War of the Worlds. Invited to Hollywood to do pretty much as he pleased, he started out by creating...

Author: /time Magazine | Title: Books: Orson Wells | 10/7/1985 | See Source »

...notes, even then there was "the megalomania that would soon consume him." And he holds to his view that when Welles flew off to Rio to film the carnival without finishing the editing of The Magnificent Ambersons (1942), when he flew off to Europe without finishing the editing of Macbeth (1948), when he wasted hundreds of thousands of dollars on abandoned projects like Don Quixote, he feared that a completion would "have the finality of death...

Author: /time Magazine | Title: Books: Orson Wells | 10/7/1985 | See Source »

This fall, the Fine Arts concentrator worked with director Bill Rausch in the Kronauer Group, and played the roles of Medea. Lady Macbeth and Cinderella. Moore describes that experience as the most challenging of his acting career, saying. "I found out what acting was really about...

Author: By Rebecca W. Carman, | Title: Moore: Treading the Boards | 4/6/1985 | See Source »

...advisor to Ex said that HRDC's effort to open up the theater to diverse groups has "simply formalized more tentative steps that have been taken before" Marks cited as an example Adams Houses Kronauer Group, which used the space to put on a production entitled "Medea Macbeth Cinderella" last year...

Author: By Jennifer A. Kingson, | Title: Drama Club Tries to Broaden Scope of Loeb's Ex | 3/1/1985 | See Source »

Eventually, classics of the theater--the plays of Shakespeare, for instance--become artistic public property to be molded and twisted according to the dictates of times and directors. Peter Sellars' recent production of Macbeth, with its cast of one women and two men who both played Macbeth, would certainly shock Shakespeare, were he not dead...

Author: By John P. Weuck, | Title: The Price of Being Classic | 1/9/1985 | See Source »

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