Word: playwrighting
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Dates: during 1970-1979
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...vaudeville comedy, in the tradition of Laurel and Hardy, that will keep you on the edge of your seat in suspence (according to director Peter Sellars). A piece for two actors--we can't seem to escape these British two-man works this weekend-Dumbwaiter pre-dates the playwright's well-known "Homecoming," and might be interesting for those who'd like to see early Pinter, as well as those who want to sit on their seat's edge. The show plays tonight and tomorrow night at 11:00 in the Cabaret, located in the Adams House D entry basement...
Gelsey marched on Dec. 29, 1952, in a Bethlehem, Pa., hospital. Her father Jack was a playwright who had scored handsomely as adapter of Tobacco Road for Broadway; her mother Nancy, a onetime actress, had retired from the stage to become Jack's fifth wife. A sister, Johnna, was nearly four when Gelsey was born; she has a brother, Marshall, 16 months younger...
...from George Hamlin, producing director of the Loeb, to come over from his home in Glasgow, Scotland to direct a student production of a play of his choice. In Glasgow, Havergal directs and manages the Citizens' Theatre, which houses a small, active repertory company. One of his partners is playwright Robert David MacDonald, who adapted and translated two plays by Pierre Caron de Beaumarchais into this Figaro, and who has also been a recent guest director at the Loeb. "We're always looking for people who can make a rare contribution to theater by directing a play here," Hamlin says...
...inspects the set, a marvelous concoction by Joan Ferenchak, draped with a Brechtian-type banner reading "Figaro," and helps to roll out a rug. "These are two remarkable plays," Havergal says of Beaumarchais' The Barber of Seville and The Marriage of Figaro, "and the playwright was a wild, extraordinary man, a pamphleteer and a music teacher. But very soon after he wrote them, one was taken over by Rossini and the other by Mozart, and the operas effectively put a smokescreen over the originals. Cutting and combining the two plays gives the whole show a fascinating irony. The first play...
...JACOBEAN PLAYWRIGHTS took their violence seriously. Their morals were usually straightforward enough, but when it came time to rivet the message solidly in the audience's mind, nothing worked like a little blood. Murder, ghosts, mutilation, alchemy, infidelity: these were the playwright's moral tools, and they incidentally made for spectacular theater as well...