Word: maturest
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Hamlin's direction, then, exploits most of the resources of the play. What is good is very, very good; what is bad is hardly worth mentioning. The world of Lear, moved by the spare, shaved verse of Shakespeare's maturest style, comes to life for most of an evening before leaving on the white robes of Lear's old sacrifices and new death. If at times the drama seems too difficult or the production too loud, we should remember that the best part of the play goes on in our minds, and, I suppose, our hearts...
Hamlin's direction, then, exploits most of the resources of the play. What is good is very, very good; what is bad is hardly worth mentioning. The world of Lear, moved by the spare, shaved verse of Shakespeare's maturest style, comes to life for most of an evening before leaving on the white robes of Lear's old sacrifices and new death. If at times the drama seems too difficult or the production too loud, we should remember that the best part of the play goes on in our minds, and, I suppose, our hearts...
Much of the excitement, of course, springs from the play, and not the production. In many ways it is Marlowe's maturest piece of writing; certainly it is his most interesting piece of stagecraft. For the play moves becautifully through the complicated tragedy of the weak king Edward, employing a large--though never bulky--cast of scoundrel lords and scurrilous peasantry. Indeed, in its pageant and scheme, the play resembles nothing so much as Shakespeare's own "Richard II." Edward, like Richard, is a king devoted more to his own pleasures than to ruling, and while England goes noisily...
...goes to see it because the Romeo is good, or stays home because he isn't. Everything centers on its not quite 14-year-old heroine; for lady stars, Juliet is a final goal and often a graveyard. There is a double hazard: the part demands the maturest art, must convey the most dewy fragrance...
...rest, the production merits respect for its determination to be serious rather than showy. Unfortunately, much of it seems commonplace, passionless, unbreathed upon. King Lear contains half a dozen roles stamped with Shakespeare's maturest genius. But the production is a tangle of acting styles-an Edmund sinuous as an Oriental dancer, a Goneril straight out of melodrama; perhaps only Martin Gabel's blunt, forthright Kent keeps its outline. Round the play's great lonely poetic peaks roar the cold winds of human evil and malign fate, the bleak message that...