Word: marred
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Dates: during 1960-1969
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...occasion, and totally failing to conjure the forest or grotto scenes. The lighting too often cast a mustard pall on the actors, with the exceptions of Act IV scene i and Act V throughout. The direction failed to take to heart Debussy's insistence that an improper gesture would mar a scene; the actors' gestures were perilously close to woodenness, which is at odds with the demands of the text. The quality of the singing was thoroughly satisfying. Roger Lucas as Pelleas and Barbara Hocher as Melisande were the weakest; Ben Lyon as Golaud was very fine in an extremely...
...with war-risk policies that covered the full "book value" of the aircraft. Since the line valued the planes rather generously on its books, it figures to get $17.9 million from Lloyd's of London and other insurers - more than enough to replace the lost fleet. The true mar ket value of each of its three six-year-old Comet jets, for example, is about $400,000, but MEA listed each at $1,500,000 and paid appropriate premiums. MEA will also collect $1,500,000 for each of two destroyed Caravelles that were really worth about...
...impish nature. He has an irresistible urge to inject modernity into a classic through props, stage tricks and character stunts rather than to extract what is timelessly significant in the play. He is more like an M.C. introducing novelty acts than a director exploring drama. All of these traits mar his direction of the Minnesota Theater Company's The House of Atreus. The production is ambitious in intent but puny in passion, execution and depth...
...work suggests it would be. One regrets only that the constraints of mortality made it impossible for Mr. Senelick to discuss his reading of the text with Thomas Middleton. For Mr. Middleton might thereby have been persuaded to eliminate or at least refine those premature bursts of anguish which mar the first act. Alternatively, Mr. Senelick might have been persuaded to abandon his brilliant championship of textually uneven plays on the grounds that world literature ought not be edited by graduate students in Comparative Literature. No one who has seen Senelick's version of the Cherry Orchard as comedy...
...total reliance on direct quotes to tell the story. Irrelevant details abound throughout the book, dissipating most of the interest aroused by the terror of the actual episode. In their rush to publish the book, too, Hersey and his publishers have hurt the book. A myriad of proofing errors mar Hersey's pains-takingly-built facade of honesty...