Word: prompter
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Dates: during 1930-1939
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...acting is less artificial than that usual in amateur productions, and the atmosphere of informality enables the audience to become "part of the play" in a way which is impossible in more pretentious surroundings. One might wish that the prompter was somewhat less loquacious, and that there were fewer alarums and excursions during the shifting of scenery...
...play is neither first nor second rate; it is in the no-man's-land between. Equally high praise can scarcely be given to the acting. While there are some moments of inspiration, there are many moments of poverty of expression and banality of action. Nor in the prompter's raucous whisper in the midst of a scene of tense emotional strain conducive to the highest enjoyment. However, the sterling work of Clara West Butler as Nurse Wayland, and of Mary McDonald as the old-bodied, young-souled mother of the cripple, inclines one to wink at a multitude...
...selected and their parts are as follows: Eugene Angert '35, Troflmov; J. C. Cort '35, Lopahin; V. S. Hodges '34, Epihodov; H. G. Hutchinson '33, Gaov; I. F. Trosh '34, Firs; and Edgar Peterson '35, Semponov-Pishtchik. Angert acted as prompter in "Napoleon Intrudes", the spring production of the Dramatic Club last year. Cort took the part of William Wordsworth in "Charles and Mary", a production of the Dramatic Club last winter; the part of sub-lieutenant in the "Man of Destiny", a production of the Barnswallows, and acted as the Councillor in "Napoleon Intrudes". Hutchinson was cast as Mr.Lamb...
...acting, though more interesting, was less even than the play itself. The hesitation and indecisions which are the bane of amateur first-nights were sometimes in evidence. Timing was imperfect; cues were taken up slowly. The voice of the prompter was too often disconcertingly audible. In the main scenes, however, the cast almost always rose to the occasion, and acted with sincerity and poise. Miss Rosemary McHugh, as Mrs. Rooke-Walter, had most of the catch-lines. Better make-up would have enhanced an excellent attempt to enter into the spirit of the part. Katherine Roberts and Jean Goodale...
...opera becomes the Viennese Jeritza. Donna Juanita should prosper briefly for the same reasons. The production is even faster, more up-to-date. The Metropolitan's conservative ballet appears barelegged. Jeritza is gorgeous in a black & gold court costume, magnificently casual as she steps up to the sacred prompter's box and uses it like a brass rail. Neatest tricks: a high dive by the big soprano, relaxed as any trained ballerina, straight into the arms of Tenor Marek Windheim and Baritone Louis D'Angelo; a shooting exhibition by Assistant Conductor Carlo Edwards who borrowed a shotgun...