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Everything and everyone seem to be conspiring against the substitute. Because of featherbedding rules of the stagehands union, for example, understudies usually have to rehearse without props, costumes or scenery. Sometimes an actor is so busy trying to avoid bumping into unfamiliar furniture that he can scarcely think about the...

Author: /time Magazine | Title: Show Business: No More Waiting in the Wings | 3/14/1983 | See Source »

The equally time-tested setting is an empty stage, and the props are limited, but the placement of large practice-room mirrors and the variation of harsh white light with soft rotating colors more than compensate for the space decoration.

Author: By Jean E. Engelmayer, | Title: Soaring Chorus | 3/5/1983 | See Source »

Director/Set designer Paul Warner '84, too, seems to want the audience to think. His set is more cerebral than realistic: In the wings, chairs float above the floor; on stage is a clutter of props and a telephone hanging down from the ceiling. By an occasional gesture within the play...

Author: By Gregory M. Daniels, | Title: The Poetry of Duality | 2/19/1983 | See Source »

Berlin's attention to O'Neill the dramatist leads to his insights into the plays excessive stage directions, scanty use of stage props. and reliance on repetitive sounds. Most of the characters. Berlin notes, reveal themselves through their stage manners and habits: Mary, the mother, is noted for her "extreme...

Author: By Andrea Fastenberg, | Title: Dark Insights | 2/9/1983 | See Source »

Berlin shows how the lack of props gives the few objects O'Neill does use--a bottle of whiskey, a wedding dress--more prominence. He also clarifies the meaning of O'Neill masterly use of sounds (the first discussion of the play concerns the father's snoring). For example, the...

Author: By Andrea Fastenberg, | Title: Dark Insights | 2/9/1983 | See Source »

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