Word: papp
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Dates: during 1970-1979
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Meryl had auditioned in New York occasionally while still at Yale. When she moved to the city, directors scrambled to use her. Her first professional appearance was at Lincoln Center in Joseph Papp's production of Trelawney of the Wells. Next she played in a program of two one-act plays and did the seemingly impossible: she became both a slovenly, bovine Southerner in Tennessee Williams' Twenty Seven Wagons Full of Cotton and a thin, sexy secretary in Arthur Miller's A Memory of Two Mondays. Says Director Arvin Brown: "The audience didn't realize that...
Written as a novel in 1946, Beckett's Mercier and Camier is stillborn in its transition to drama at Joseph Papp's Green wich Village Public Theater. One can understand what impelled Adapter Neumann's strenuous and occasionally imaginative effort, since the book was, essentially, Waiting for Godot in its earliest and distinctly embryonic state. The two title characters (Frederick Neumann and Bill Raymond) are as close as barstool buddies, and they stumble and blather about in a bleak inscape of metaphysical despair. Despite intermittent japery, they are triste, petulant atheists who resent the fact that they...
...show, are good at zany little bits of dialogue. In one skit, Jesus Christ shows up for an audition. "You don't look like your picture, Christ," remarks the casting director. "I shaved for a commercial," answers the beardless deity. There is a delicious lampoon of Joseph Papp's Public Theater. A character walks onstage carrying a case labeled P.T. PLAYWRIGHTING KIT. Its contents include "bogus charisma" and a promise to "turn your meaningless tripe into a crock...
...takes an actor of liquid fire and the keenest intelligence to carry all of that off, and Morgan Freeman accomplishes it in this rousing production of the play at Joseph Papp's off-Broadway Public Theater. It also requires one other thing, a figure of equal mettle in the tigress role of Coriolanus' mother, Volumnia...
With the audacity of the venturesome, Joseph Papp has assembled a black-Hispanic acting troupe, and its debut production is Julius Caesar. In the U.S. the problem of proper delivery of the Shakespearean line transcends ethnic background or race. Few, if any, American actors are qualified to speak in iambic pentameter. Lacking sufficient breath control, they pant when they should roar, and jangle the music and authority of poetic rhetoric...