Word: melmoth
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Dates: during 1960-1969
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Dwarfing the actors as only the Loeb can do, making action seem remote and impersonal, Sebastian Melmoth's impressive but ugly set puts the Loeb one step closer to a kind of synthetheatre defeating the electricity theatre can generate between stage and audience. The set's colors are not so much terra cottas as flesh and, added to the admirable but arty lighting, the whole thing was weighted toward the ghastly...
Ginn has perhaps made a mistake in directing such a cold play in emotional high-style, emphasizing spectacle with aluminized mylar sheets mirroring the audience, incense burning-away, and bits and pieces of Artaud and Grand Guignol. The set, grotesque caryatids awesomely conceived and executed by Sebastian Melmoth, nonetheless serves little intrinsic function in Ginn's concept, appearing only as so much lavish decoration surrounding the playing area. The costumes and lighting, however, work better, and are superb as only the Loeb can make them...
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