Word: played
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Dates: during 1950-1959
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...four characters in The Glass Menagerie, the other of Tennessee Williams' two great plays, captured only some of the work's beautiful subtlety and fragility. Once again, the best job was turned in by Frank Langella as the son Tom. The Playhouse then resurrected the famous 1844 play The Drunkard; or, The Fallen Saved, "a moral domestic drama by W. H. Smith and a Gentleman." Marilyn Miller staged the work in period costume and old-school ham acting style; and the result was unflaggingly hilarious. Booing, hissing, and the throwing of peanuts were actively encouraged. A pianist furnished background accompaniment...
Having forsworn the part of Hamlet a few years ago, Gielgud now says he will not play Benedick again after this production finishes its present run on Broadway. When someone objected, he replied, "I'll always be left with Lear and Prospero...
...Streetcar Named Desire, the better of Tennessee Williams' two great plays, forced director Rabb out of the realm where he belongs. Determined to find a "new" interpretation, Rabb supplied a long program note full of fuzzy theorizing and such ideas as: "Awe is antithetical to pity. Pity is indecisive; in awe there is no escape." In stripping Blanche DuBois of her nobility and routing out all traces of pity for her, Rabb distorted the play out of all proportion. As Blanche, Cavada Humphrey fought a losing battle, and was the only cast member even to attempt mastering a Southern accent...
...Falk, who for a dozen summers had produced plays in New England Mutual Hall, decided to throw in the towel after losing money the past two summers. Stepping into the gap came the Boston Summer Playhouse. The first offering, a dreadful item called Fair Game, was given an insultingly inept performance. After a quick reshuffling of plans, the Playhouse bounced back with a fairly amusing production of F. Hugh Herbert's delightful sophisticated comedy, The Moon is Blue, in which Frank Langella and Frederick Morehouse '59-3 performed with considerable skill. Jan de Hartog's The Four-poster, a series...
...Susan Glaspell in 1931, showed us some writing that could not get by in the theatre today; but the story, based on the mysterious life of poetess Emily Dickinson, is inherently dramatic and playworthy. A woman also wrote the group's next offering, The Chalk Garden. Enid Bagnold's play about two interlocking struggles is a good deal better than Miss Glaspell...