Word: ott
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...prose lopsided and its effects crude, its power and pathos undiminished. In adapting it anew, California's Berkeley Repertory Theater has retained all the virtues and many of the faults. The first half of Neal Bell's script seems wayward, slow and sometimes cute, in part because director Sharon Ott opts for a too stylized manner of acting. The second half is riveting. This is a story of downward mobility, about a miner turned dentist (sans diploma) who winds up defrocked and doomed in an abandoned mine. In a stunning coup de theatre, the multipurpose set ends by dropping chutes...
Berkeley Rep's production benefits from fluid, cinematic staging by the company's artistic director, Sharon Ott, and a highly adaptable village-square setting by Kate Edmunds. The production is so good that even a predictable climax -- the villain's armed intrusion at the wedding of a shepherd he despises and a maiden he means to rape -- achieves the abrupt power of surprise. Among a solid ensemble cast, Jack Heller is a wonderfully hissable overlord, full of chill arrogance and hot rage, and Domenique Lozano and Stephen Burks are the most affecting of his victims. The chief asset, however...
...gigantic vision. But for the moment that does not matter. What does matter is what the production represented: a triumph for Myung-Whun Chung, the Opera's untested 37-year-old Korean-American music director; a triumph for Pierre Berge, the man who hired Chung; a triumph for Carlos Ott, the unknown Canadian architect; a triumph for French President Francois Mitterrand; and, most important of all, a triumph for opera...
Once the Uruguayan-born Ott's design was chosen by Mitterrand in late 1983 after an open competition, however, the sniping really started. There were whispers that Ott's utilitarian, curvilinear design had been selected by mistake. There was a revolving door of administrators. During a two-year conservative interregnum, the project was temporarily halted...
...Susan, the troubled title character, who is losing her grip on reality. Susan hates her life. And why shouldn't she? Her husband, Gerald (Mark Brazaitis) is a befuddled priest more interested in his historical study of parish life since 1386 than in sex. Her son Rick (Andrew Ott), who has always been afraid of women, is now a member of a London sect devoted to parent hatred, which doesn't make her feel any better. Aside from the uptight Gerald, her only companion is her antagonistic sister-in-law, an incompetent Cornish cook with a reincarnation fetish...