Word: mcdonoughs
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...Broadcast: As the Ivy League Game of the Week, the contest will be telecast on the Public Broadcasting System (WGBH, Channel 2 in Boston) beginning at 1 p.m. Dick Galliette, Upton Bell and Sean McDonough will call the contest. Radio stations WHRB (93.5 FM) and WMRE (1510 AM) will carry the game live. Bob Gamere will handle WMRE's play-by-play, with former Harvard quarterback Mike Lynch providing color commentary. WHRB's Jim Rosenthal and Ed Stiel will call the game for the student station...
...choices of thirties models for all the characters are generally very clever, Baptista, the rich landowner, becomes the baggy pants petty bourgeois proprietor of the theatre. Played by Jim Kaufman, he is the very model of an alcoholic crud. Hortensio as done by director McDonough becomes a pseudo Mafioso a proto-Don Corleone complete with big blue suit and loud tie, Lucentio (Kevin Fennessy) and Bianca (Marianne Adams) are the very models of squeaky clean 30s youth...
...McDonough had stuck to nostalgic personalities, they play might have succeeded as amusing fluff. But the two principles have to carry the weight of the dramatic message, to the detriment of their performances. Mark Cuddy's Petruchio has a reason to deliver his lines like a third-rate caffeine-crazed vaudevillian, Since that is what he is supposed to be. But Kirsten Giroux, who plays Katherina, is clearly a talented if traditional Shakespearean actress, which makes her the wrong person for his role. Her mugging, posting and self-consciously exaggerated delivery make no sense; her gestures and poses look like...
...efficiently evokes the backstage of a rundown vaudeville house, with three large panels of circus-patterned scrim backstage. At several points, backlit actors pantomime the offstage action of the play, alleviating the inevitable boredom of this regrettable Elizabethean convention. But McDonough cannot stop with this modest tactic; he has to include pantomimed metaphor's of the onstage action. Of many egregious examples, the backstage portrayal of a catfight during Bianca's and Katherina's second-act sparring manages to be as insulting as it is cliched...
...strokes of genius, and wildly short of a unifying vision. The key dichotomy is between the feminist intent and the burlesque setting. Burlesque and Shakespearean comedy are close in many ways, and sometimes the technical devices have been successfully transplanted. But the spirit of burlesque is completely antithetical to McDonough's tragicomic conception of the Shakespeare work...