Word: played
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Dates: during 1970-1979
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Redford has bizarrely chosen the '20s as the setting for this play, a decision chiefly noticeable in the first three acts by the costumes of the performers. In the fourth act, the time setting of the production returns with a vengeance, as peasants do flapper numbers to Louis Armstrong tapes...
...first three acts, Redford works with a simple set consisting of a narrow, straight-back throne set on a raised platform. His blocking of each scene subtly underscores the action as it develops in the play...
...ONLY PERFORMANCE that approaches Clemenson's is Grace Shobet's courageous Paulina, and the scenes between Shohet and Clemenson are the best in the play. Shohet outshines Kim Bendheim (Hermione), who is distractingly nervous in the opening scene but rallies to embody virtue, as Shakespeare intended. Bendheim is particularly strong in her trial scene, where Redford's blocking is also at its best--simply but effectively showing the relative virtues of the characters. Hermione stands on a small box above all her accusers; with their backs to the audience...
...home and Redford the Shakespearian director returns. The last scene is as difficult to present as the eye-gouging scene in King Lear. Redford stages it identically to the courtroom scene, with Hermione on a pedestal above the rest of the players. It is a beautiful idea, uniting the play--allowing the virtue of Hermione to conquer all this time around. Clemenson once again masters the complexity of his role, as he wondrously discovers that the statue is in fact his living wife...
After a controversial play during which Harvard's Karen Smith ended up sitting under the UPenn basket unconsoled by a foul call, the hoopsters lost their concentration. Several opportunities to regain the lead slipped away, and with 30 seconds left, the cagers watched helplessly as the Quakers stalled their way to the two-point...