Word: medea
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...earlier choices would have set their teeth to chattering. So far, The Play of the Week has dealt with such themes as drunkenness and sexuality in a priest (Graham Greene's The Power and the Glory), sterility and infidelity (John Steinbeck's Burning Bright), infanticide (Medea, with Judith Anderson), and clerical tyranny (Paul Vincent Carroll's The White Steed). Says Producer David Susskind: "We have none of those pernicious and aggravating conditions and taboos that you get everywhere else on TV." Most memorable example to date-WNTA's unbowdlerized production of Jean Anouilh...
...Taylor's Ko-Ko lacked some of the vocal finesse that this role could use, but his acting was very funny. Alison Keith was again Gilbert's answer to Medea, (this time as Katisha); again struggling through the songs and plunging through the hamming like an old pro. Joan Rosenstock contributed some more pleasant singing, and William Jacobson and Merry Isaacs rounded out the cast of principals. George Nelson and Barrie Wetstone handled the piano score ably, and musical director Burton Dudding kept everything going nicely...
There was an even greater disparity between the two halves of the dance section. The final work was an electrifying setting of Virgil Thomson's "Seven Choruses from the Medea of Euripides" choreographed by Amy Greenfield, who also danced the title role with just the right mixture of passion and inhuman wildness. As Jason, Gus Solomon combined a rigid discipline with a strongly rhythmical movement, producing an effective and intense characterization. The other dancers and the chorus were caught up by the highly charged emotion and supported the principals well. The choreography had about it a sureness and feeling...
...been better off left to the privacy of the rehearsal room, the program as a whole came off well in the end. And the further suspicion that these two groups might not be such tremendous bedfellows was dispelled, at least for this year, by the admirable performance of the Medea...
...because of her size (5 ft. 6 in., 185 lbs.), partly because of her wooden acting, she did not appear in a fully staged opera until 1956 (Cavalleria Rusticana in Florida). Since then, she has made occasional guest appearances-IL Trovatore and La Gioconda with the Chicago Lyric Opera, Medea and Ariadne auf Naxos with the San Francisco Opera. Last summer she took her great voice to Europe, won loud ovations in both London and Spoleto. Last week she received the most cherished honor of all: an invitation to sing with the Metropolitan Opera. Next season, Met Manager Rudolf Bing...