Word: recast
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Dates: during 1950-1959
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After World War I, another Bisaccia emigrant to the U.S., Giuseppe Sullo, had built a new church tower for the town at a cost of $12,000, expecting that this would encourage Bisaccia to recast the bell. (It didn't.) After World War II, Louis decided to recast the bell in honor of his son Major Raymond Salzarulo, who was killed at Midway. Louis sent $500 to Don Guerrizzo, the parish priest...
...program opened with Beethoven's Quartet in E flat. Originally composed for piano, bassoon, oboc, clarinet, and French horn, the work in its recast piano quartet form still shows signs of woodwind writing. Nevertheless, it is a sprightly, tuneful piece with more than a few melodic and harmonic surprises worthy of the later Beethoven. The performance was fresh, idiomatic and perfect in every way. Balsam's personality seemed to be the dominating one. The group followed his beat, not Gorodzky's, and the piano part was emphasized whenever possible...
French Accent. Besides playing in Don Juan, Charles Laughton staged and cast it. At first, he had trouble signing up Charles Boyer, who was afraid his French accent might make a hash of the long set speeches. "All right, Charles," said Laughton, "please recast the show for me and find someone else to do Don Juan." The delicate compliment did the trick. Says Laughton: "The public forgets that Boyer was a great actor before he ever became a romantic lead in movies...
...Family got its TV start two years ago when Morse was summoned East to put together a TV show to compete with CBS's The Goldbergs. Morse recast his show "for the eye instead of the ear," and began to think in terms of visible characters. The result was so successful that Morse now considers the TV Family (which has a different cast, headed by Bert Lytell, and a different storyline) much more top-drawer than the radio Barbours. Says Morse: "Father Barbour has become much more human than the stuffed-shirt character I created for radio; Mother Barbour...
...from Herman Melville's story by Louis O. Coxe & Robert Chapman; produced by Chandler Cowles & Anthony B. Farrell) is a brave shot at a difficult target. On its own terms the sea story that constitutes Herman Melville's valedictory to life is certainly great enough. But to recast it for the theater means tackling a subject far deeper than the sea, grappling with a far-from-well-told story. It means handling utterance that now soars on wings, now walks on stilts. It means working with characters that are essentially black & white, must not become flesh & blood...