Word: prosperoous
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Dates: during 1940-1949
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...commissioned to do the Stations of the Cross in Westminster Cathedral. Gill carved them in "what might be called an archaic manner; but I wasn't doing it on purpose, but only because I couldn't carve in any other way." Next came a commission to carve Prospero and Ariel for London's Broadcasting House. Gill transformed them into God the Father and God the Son. Finally he was asked to do a 55-ft. frieze for the League of Nations council hall at Geneva. Gill suggested "The Turning Out of the Money Changers" as an appropriate...
...thrown contemporary stage conventions to the winds. Crediting its audience with more intelligence than do most Broadway producers, the Workshop and its director, Albert Marre, have produced a "Tempest" that crackles with surprises, fantasies, and abandon. Everyone on the stage at Brattle Hall last night, other than Prospero, was obviously having a grand time, and that feeling was what they tried most to transmute to the audience. "We are such staff as dreams are made on" became their thesis, and they proved it. By never once allowing a touch of realism to invade their island, their patch of earth became...
...disappointing performance in "The Tempest" was Thayer David's Prospero, which came as a surprise after his previous work. The fault may be the director's, (or my own, since it is a matter of interpretation rather than ability) but I cannot imagine Prospero as the dry, weary, manipulator that Mr. David makes him. Why shouldn't God, or Shakespeare, or whoever Prospero is, have as much fun as anybody? Since he is responsible for all the goings-on which produce such gaiety, why should he not be amused? Even Buddha smiles. Mr. David's magic-man is stern...
Rehearsals begin tonight for the Harvard Theater Workshop's final production, Shakespeare's "The Tempest," director Albert Marre 1G said yesterday. The cast will include Robert Fletcher '50 as Prospero, Thayer David as Caliban, Jan Farrand as Ariel, and Naomi Raphaelson '50 as Miranda...
...also a less poetic one. In The Tempest, with its wonderful language, words speak louder than actions; not everybody in the Webster production knew how to utter them. Arnold Moss was a sonorous and commanding Prospero, Frances Heflin a sensitive Miranda. But as Ariel, Ballerina Vera Zorina let a good many speeches dwindle, and her grace was cold rather than sunlit. As Caliban, Negro Actor Canada Lee could not (like Shakespeare) make poetry of ugliness. Stressing the rather dull comedy also shattered the mood; the revolving stage was more practical than atmospheric. This generation may never see a livelier Tempest...