Word: natashas
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Nancy Cox (Olga), Susan Yakutis (Masha), Martin Andrucki (Vershinin), Deborah Holzel (Natasha), Daniel Seltzer (Doctor), Paul Shutt (Kulygin), and practically everyone else-all let their souls pour over the auditorium from time to time if not all the time. Lori Heineman as Irina and Andre Bishop as Andrei go even further than that, opening themselves up to let us see their entire nervous systems almost every second they are on stage. No matter how self-enclosed you are upon arrival at the Loeb during the next two weeks, you simply will not be able to pass up Heineman and Bishop...
...play has fourteen speaking parts. Of these only the two lieutenants Fedotik and Rode are minor (Kahn, in a felicitous touch, has given Fedotik a bit of extra business with his camera at the end of the first act, when Natasha and Andrey kiss). This means that there are twelve vitally important roles, with the subtlest web of interactions...
Roberta Maxwell misses little in her portrayal of Andrey's fiancee and, later, cuckolding wife Natasha, a vile and vulgar creature who ends up holding all the reins, and who insists on pretentiously flaunting her inadequate knowledge of French. Few scenes in all drama are as chillingly cruel as the one in which Natasha upbrades the loyal octogenarian nanny Anfisa and proceeds to advocate kicking her out because the old woman can't work enough, both does not convey sufficient age. (It occurs to me that director Kahn might have improved his production by switching the roles of Misses Maxwell...
...including Pilot Boris Egorov, 48, a veteran who holds the rank of Meritorious Flyer of the U.S.S.R. There were also four of the prettiest-all things being relative-stewardesses in Aeroflot's big (248,000 route miles) system. The stewardesses' first names were Maya, Gay, Lena and Natasha...
...telling of their lives that the film fails. Pierre and Andrei are at best only shallow, literal representations of Tolstoy's rich characters. To portray Natasha's giddiness, Savelyeva never walks when she can dash, never smiles when she can give shiny-eyed grins that reduce her to a caricature coquette. Amateurish cutting and arbitrary shifts from color to black and white mutilate the film. Moreover, the dubbing is disastrous: the actors' faces show feelings far more profound than the dull words that cannot quite fit their mouths...