Word: othello
(lookup in dictionary)
(lookup stats)
Dates: during 1940-1949
Sort By: most recent first
(reverse)
...most striking characteristic of Othello' is its structure. Whereas in most tragedies, the hero maintains control until the turning point in the play is reached, here we have the villain in command until the climax. It is proportionately hard to understand". Professor G. L. Kittredge '82 emphasized, this point in the second lecture of his series on the "Five tragedies of Shakspere" last night in Sanders Theatre...
...been in love with an innocent-seeming girl (Barbara Bel Geddes), but had begun to doubt her: it looked as if she might be secretly carrying on with an aging and odious magician (Vincent Price). The rest of their story bears some relation to Othello: a profoundly depraved man tortures a profoundly simple one with lies, half-lies and ugly possibilities about the young girl until the anguished hero, his trust destroyed, kills his tormentor...
Paul Robeson is a great baritone, a good actor (Othello). He is also a Communist-liner. "There is no such thing as a nonpolitical artist," he explained at a rally of Communist war veterans in Washington. "Either the artist serves the people or he serves those who would throttle them...
Repertory Manhattan last week greeted its first large-scale repertory theater since Eva Le Gallienne's famed enterprise folded in 1933. This time Miss Le Gallienne was again a leading spirit, but in partnership with Director Margaret Webster (Hamlet, Othello) and Producer Cheryl Craw ford (Porgy and Bess, The Tempest). It had taken the three of them two years to raise almost $300,000 from 144 stockholders (they resisted Hollywood) and to gather a permanent company, including Walter Hampden, Victor Jory, Ernest Truex and Actress Le Gallienne herself...
Enter Ferrer, a rare genius in the American theatre. This is the man who made Margaret Webster's Othello with his real and living Iago. He has at least equalled that triumph with Cyrano. This character, plagued by an obscene nose, must be "all things." After the first act, Ferrer makes the spectator forget that nose. Declaiming with high spirit, he leaves the audience gasping at the arched flight of his slick patter. He is meant to be a swashbuckler, and Ferrer gives it everything as he swaggers and gesticulates in the mixed role of philosopher, poet, soldier, and self...