Word: misse
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Dates: during 1970-1979
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...talent in recent memory on the tiny Old Library stage. As with most musicals, strong leads almost always guarantee success with this show; this production has them, plus an energetic if necessarily small cast. And most of all, director Leo-Pierre Roy has what you call your can't miss show, and that's where the chutzpah comes...
This is a can't-miss production. Like the man says: satisfaction guaranteed or your money back. Or is it? If they'll charge three bucks and work the actors to death, they might not give you your money back. But then again, you probably won't want it back. In this Guys and Dolls, as with every other one produced by reasonably talented people, you know what you're going...
...story to dwell on the her oine's father (Michael Constantine), a surly merchant with unexplained psychotic tendencies. McNichol and Davison just do not have much to do; their scenes are sexless tableaux vivants, designed to illustrate the story's ample collection of humanitarian platitudes. Lest we miss the point, the proverbially wise and rotund black maid (Esther Rolle of Good Times) lectures the characters on the virtues of brotherhood. Add Director Michael Tuchner's fussy attention to period detail and lugubrious pacing and you have a truly endless Summer...
...Rocking the Boat" to the exquisite "I'll Know." We think the witty book by Swerling and Burrows can hold its own, too. Guys and Dolls relates two love stories: that of Nathan Detroit, operator of the "oldest established permanent floating crap game in New York" and Miss Adelaide, his fiancee of 14 years; and that of big-time gambler Sky Masterson and Sarah Brown, a Salvation Army lass. Based on a story and characters by Damon Runyon, Guys and Dolls opens tonight, and plays this Fri. and Sat., and next weekend as well. At the Old Library in Leverett...
...sermon on the theater, though it contains many epigrams that any actor, established or aspiring, should cut out and tape to his mirror. Instead, the book combines both these elements, forming a recitation of memories interspersed with philosophy. It reads like a dreamy monologue, as if the reader and Miss Seldes went home together after her evening performance, and she began to describe her career. The soliloquy soon disregards the rules of sequential narration, as if the speaker began to interrupt herself, linking events by theme rather than by time, injecting the insights of the present into the past...