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Eric Martin's set was the only evidence that someone had thought about the play. The stage is an enormous disk, tilted toward the audience and partly surrounded by a cyclorama, on which is projected a series of wonderfully evocative slides. I have never seen, on any amateur stage, such...

Author: By Allan Katz, | Title: Peer Gynt | 3/25/1961 | See Source »

The inaudible dialogue, the invisible actors (they studiously avoided the spots of light in which they were supposed to stand), the embarrassing moments of silence (while actors waited for props to descend from the ceiling), the inappropriate music, the stiff and ungainly choreography--all might have been bearable had there...

Author: By Allan Katz, | Title: Peer Gynt | 3/25/1961 | See Source »

Though the play was probably first given in a chapel, its tone is better suited to a tavern. Almost any place would have been better than Boylston Hall; my own choice would have been Cronin's. But Ted Morris, who directed the play (the program notes modestly proclaim, "The unnatural...

Author: By Allan Katz, | Title: Le Jeu de Saint Nicolas | 3/4/1961 | See Source »

Morris used Boylston's shallow stage to perfection. He kept the actors moving in a fluid and carefully planned ballet. Every time a step was taken, an arm raised, an eyebrow lifted, one caught a glimpse of the puppeteer behind the scenes. The balance between the medieval and the modern...

Author: By Allan Katz, | Title: Le Jeu de Saint Nicolas | 3/4/1961 | See Source »

The 20-scene production, shunning traditional grandiosities, keeps largely to a simple platform stage, at times with no more props than a bench and a tree, and often vivid expressionist lighting. The production suffers, however, from a total lack of style, from seeming solidly, even a little clumpingly, echt Deutsch...

Author: /time Magazine | Title: Theater: Old Play in Manhattan | 2/17/1961 | See Source »

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