Word: one-acts
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...American Repertory Theatre is currently putting on three one-act plays--two of them by Beckett--amorphous enough to make Waiting for Godot seem full of plot. Only after a good deal of thought does the substance of Beckett's Footfalls and Rockaby become ap parent: Footfalls explores a mother-daughter relationship, while Rockaby portrays a woman persuading herself to die. The third play, Eugene O'Neill's Hughie, provides a more concrete setting for the very abstract emotions which characterize the evening...
...one-act plays brazened through the cliche barrier to make provocative comments on the battle between artistic integrity and professional survival. In Kent Broadhurst's lovely The Habitual Acceptance of the Near Enough, a Manhattan gallery owner (Frederic Major) instructs a brilliant, unknown painter (John C. Vennema) in the art of compromise; fortunately the lesson does not take. In Jeffrey Sweet's The Value of Names, Benny (Larry Block), a blacklisted actor who has revived his career on a TV sitcom, crosses rusty swords with Leo (Frederic Major again), the theater director who had testified against him before...
...One of the Herschbachs' most successful innovations has been the introduction of "Freshman Courtship Week," when the Freshmen are invited to Currier for an array of recruiting events. Last year, nearly 100 prospective Currier House sophomores showed up for events, such as a Masters' Open House, a dance, a volleyball game, two one-act plays and wide screen TV showings of videotaped movies. That all but four of the new sophomores put Currier down as one of the housing choices indicated the success of the week...
...Confidence Man this week, and is staging Strauss's rare Die Liebe der Danae as well; the Opera Theater of St. Louis in June presented the premiere of Stephen Paulus' ambitious The Postman Always Rings Twice, which it commissioned, and unearthed Prokofiev's youthful one-act shocker Maddalena...
...dexterity in assuming different characters. H. Stuart Shifman's insightful directing enables the actors to take advantage of all parts of the room, not confining themselves strictly to the stage. The precise comic timing, versatility of the actors and fluidity of the actions produce a completely polished series of one-act farces. The informal cabaret style provides an excellent opportunity for the audience to relax and enjoy the near-professional acting. And Norman R. Shapiro's elegant translations avoid the familiar trap of stilted-seeming pieces of localized humor. The evening of French farce at Adams House transforms the audience...