Word: prosperoous
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...that they were more or less ensuring -- if the principle were to be applied fairly -- that most Asian-American actors would have to sit around in limbo and wait for the next production of The Mikado. They were also raising some highly intriguing questions. How can John Gielgud play Prospero when Doug Henning is at hand? Should future Shakespeares -- even future August Wilsons -- stock their plays with middle-class whites so as to have the largest pool of actors from which ( to choose? And next time we stage Moby Dick, will there be cries that the title part be taken...
...Like Prospero, Stern is a magician who confronts unruly influences in a brave new world. The Midwestern Caliban is played by Hartnell, husband of Stern's sister and his most troublesome client -- a "small-town boy made good, gone bad." To see him on the floor of the commodity exchange is to observe a force of nature: "He stepped into the tiered levels of the pits, shaking hands and tossing greetings like Frank Sinatra onstage, commanding the same reverence, or, in some quarters, subverted loathing." When he admits, "I've always wanted to do what other people wouldn't," Stern...
...great achievement, to ideals. But a self-subverting demon was furiously at work as well. A pre-emptive annihilation of self: Hart describes what a great President he would have been, and then -- poof! -- is gone. The fantasy makes reality in the air, and then annihilates it. Hart as Prospero...
Ronald Reagan has a genius for American occasions. He is a Prospero of American memories, a magician who carries a bright, ideal America like a holograph in his mind and projects its image in the air. This week the sky will be splashed with celebrations of the 100th anniversary of the Statue of Liberty. The President will hand out the sparklers, and the nation will gaudily salute the American dream. Reagan, master illusionist, is himself a kind of American dream. Looking at his genial, crinkly face prompts a sense of wonder: How does he pull...
Fidelity to the text is indeed the trademark of this Tempest, but it makes the play too slow and too long. Shakespeare's shortest play should be enchanting, like one of Prospero's spells; as it is, Bradford's production seems longer than its lengthy three hour running time. The problem is compounded by the fact that the actors speak their lines very slowly, as if too reverent of Shakespeare's poetry...