Word: philippi
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Dates: during 1960-1969
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Paul Sparer's blunt and pragmatic Cassius is fine in the first half of the play, but degenerates into overwrought fustian towards the end. In his quarrel with Brutus before Philippi, his low delivery of "Brutus, bait not not me," with shaking knee, is ten times more powerful than all the torrent of screaming and bellowing he soon gives vent...
...find in Plutarch, and he was invented chiefly to illustrate Brutus' considerateness of others. Fifteen-year-old Alan Howard plays him ardently and appealingly. When he falls asleep in the midst of singing and plucking his harp, Brutus affectionately covers him with a gown. When, after the battle at Philippi, Lucius is carried in, lain on the ground and tenderly shrouded in a blanket, one is more moved than by the death of any of the play's principals...
...effects. When Caesar's ghost appears to Brutus, Tharon Musser's eerie lighting makes it quite unnecessary to add the off-stage roll on the cymbal. And must we have another crude cymbal roll when Brutus runs on his sword? As a background to the aura of death at Philippi, Susa has also introduced on the harp an ostinato pattern from the Dies irae plainchant, which recalls the identical ostinato near the end of Rachmaninoff's tone-poem Isle of the Dead. At any rate, I suspect that even Sousa would have done better than Susa
There is nothing unBiblical in this conception of the Christ. After all, notes Lutheran Theologian Martin Marty, "when they asked Jesus what it was all about, he told the story of the Good Samaritan." St. Paul informed the church of Philippi that "Christ Jesus, who, though he was in the form of God, did not count equality with God a thing to be grasped, but emptied himself, taking the form of a servant." According to Matthew, Jesus warned his disciples: "The Son of Man came not to be served but to serve." And he wished that the church follow...
...second, which tells the story of Antony and Cleopatra, begins with the battle of Philippi, which once more breaks the power of the republic and this time makes a triumvirate (Antony, Octavian, Lepidus) master of the Roman world. Antony (Richard Burton) is allotted the East, and Cleopatra's reveries of empire revive. She amorously regales him on her gilded barge, and the charms that captivated a cerebral Caesar enslave the sensual Antony the old war dog degenerates into...