Word: mr
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Dates: during 1930-1939
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...know with what object the Crimson prints almost daily reports of the number of signatures of the petition for retaining Mr. Hicks as a member of the Harvard Faculty. In view of the fact that the petition bears no official character whatsoever, it would seem better to disregard such childish agitation, all the more since this petition can by no means be regarded as representing a consensus of student opinion...
Indeed zestful, masculine, youthful, and almost gay is the Evans Hamlet. Doubtless a reaction from the involved psychological analyses so commonly foisted upon the original character in recent years, Mr. Evans' interpretation is vigor ous, and comparatively speaking, simple. To the ghost, Hamlet shows a nature capable of passionate hatred; to his uncle, he is actively hostile, not sullen or melancholy; to Polonius, he is flip, humorous; to Ophelia, deeply in love; to his mother, pitiless, scornful. Even when alone, Hamlet the melancholy philosopher is subordinate to Hamlet the emotional youth...
...interpretation, though far more appealing than its antithesis, loses something important to the play. Hamlet's intellectual nature, or, as Coleridge has it, his habit of "calculating consideration which attempts to exhaust all the relations and possible consequences of a deed," is, after all, fundamental to the plot. In Mr. Evans, this side of Hamlet is not absent, it is merely submerged; but it has so become indefinite that one is actually not convinced when he says "Oh cursed spite that ever I was born to set it right!" Neither can one answer for him when he exclaims...
...less convincing in his pursuit of revenge--Polonius is at once sage and verbose. To Ophelia (Katherine Locke),--who is appropriately fragile, and who contributes a mad scene (IV-V) as effective as any in the play--the Lord Chamberlain is exasperatingly hasty and foolish. Humor, too, enters into Mr. Graham's skillful portrayal, especially when the utmost is wrung from his interview (II-II) with the smooth, villainous King (Henry Edwards) and the sensual, light-witted Queen (Mady Christians). Only from the ghost, who--in spite of the effective lighting--falls between abstract ghostliness and the human wisdom...
...bags of tricks in the business; her white hands are at times just a touch too dramatic. But from Donald Oenslager's faithful Victorian drawing room set to Prossy's champagne jag, this production is all of a piece. It is worth going to see, for Pygmalion is not Mr. Shaw's only triumph...