Word: mimed
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Dates: during 1970-1979
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...they move with point through the rich decay and underworld glamour of Louis-Philippe's Paris. The concept of the film is daringly poetic for film narrative (the characters' developments are seen largely through their own conscious artistic achievements), but fully achieved. It is a brilliantly acted and mimed film about great mimes and actors who really lived and performed in and around the Boulevard of Crime, But it is as much about different kinds of love, from the infantile to the adolescent to the adult, as it is about the compensating fantasies of theater; as much about every...
David Zucker's adaptation of the book for the Boston Repertory Theatre is equally palatable: every line is lifted straight from the text. And his direction, using mime, narrative, and story-theatre vignettes, is effective and competent. It suits the tone of the text; no really fancy stuff, minimal action, and little of the "Isn't it neat that I'm a talking animal" coloring which mars so many stagings of children's stories. Zucker also is the Narrator. He gets the best of Saint Exupery's prose, and with fine modulation and good phrasing, he renders it well. Virginia...
...Elope," was the spiclest of the dances. This time a solo, choreographed and danced by Julie Hanlon, who showed far more competence in this mime-dance style than in "See-Saw." In black stretch overalls and green leotard top, she showed a clean, precise figure, characteristic and obligatory for mime...
...that the G & S Players have not taken advantage of them. Much of Yeomen's semitragic ending exists merely as a vehicle for the lyrical tragic love duet. "I Have a Song to Sing, Oh", and Karl Deirup and Chalyce Brown carry it off movingly. Deirup's expressive little mime during the number is unusually effective, quite touching really. Brown's voice is in top form for her part...
...simplicity and ritual: it begins with the ceremonous unfolding and folding of a large cloth, a less mechanical and more suggestive device than a curtain for marking the division between the presence of actors and the progress of a play. William Barnum's slow and deliberate opening mime as the Old Man at the elusive fountain of immortality does more to set the scene than the other actors are later able to maintain. Barnum and Wally Know as the Young Man (Cuchulain), use thir mature voices to form a firm center of dialogue in a production that's otherwise weak...