Word: mime
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Dates: during 1950-1959
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...antics," they teamed up in 1927, and as bumblingly chivalrous misfits strove ineffectually to solve hopeless problems (e.g., while struggling to get a grand piano over a narrow suspension bridge across a horrifying chasm between two Alpine peaks, they would encounter, midway, a gorilla). Hardy was the master of mime and the bowler-bouncing doubletake, and, faced with Laurel's witless works, the withering glare. But it was brink-of-tears Laurel (who has also suffered a stroke) who somehow, always looking miserable, saved them...
...part of the mute boy, Toby, was written for a performer who must combine the abilities of dancer and mime. Eugene Gervasi distinguishes himself in both capacities. He quite brilliantly manages to make his body and hands express the boy's desperate eagerness to speak, and, what is perhaps more difficult, project his love for the medium's daughter...
...Fausses Confidences the actors thoroughly enjoyed convincing us that love is hindered neither by sincerity nor by some calculation. Everthing turns out well in the end and M. Barrault as the well-meaning troublemaker, Dubois, was at his best relying on mime and expressive gestures. There is a clear and consistent comic freedom in the Marivaux which allowed the company to show off its virtuoso technique...
...display their art in its purest form, without scenery, costumes or an imposing vehicle. They ran the gamut from the most subtle verbal effects to no words at all. Barrault's final pantomimes were the epitome of freedom within a highly stylized form. Compared to Marcel Marceau his mime was less delicate and less detailed but it had energy, spontaneity and excitement that Marceau cannot equal. The mimes conveyed best of all Barrault's idea of theater as creative play, the purpose of which is to always keep men young in spirit. As he said in Holyoke one night during...
...Gutrune). All three gave occasionally fine performances, but no one of them dominated the stage in the spacious manner of a Kirsten Flagstad, a Helen Traubel or a Lauritz Melchior. The most consistently good performances, both vocally and dramatically, were supplied in the supporting roles-Norman Kelley as Mime, Blanche Thebom as Fricka and Waltraute, Jean Madeira as Erda. What really held audiences, however, was the Wagnerian power of the Met's orchestra, conducted once by Dimitri Mitropoulos (Walküre) and the rest of the time by the Met's Wagner veteran, Fritz Stiedry...