Word: rex
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...Furthermore, the language simply does not communicate to the listener." Several members of the audience rightly objected; for hope is one thing that is never extinguished in the play. One Harvard senior compared Pozzo's last speech with a speech in Macbeth for communicative power. Mr. Myerberg then had Rex Ingram deliver the speech again. It was obvious afterwards that Mr. Durgin was the only one present to whom the words communicated nothing...
Geoffrey Holder (who plays the slave, Lucky) gave a fascinating stream-of-consciousness account of his feelings from the first rehearsal through last Friday's performance. Rex Ingram explained the religious significance of Pozzo's role and his own feeling of personal identification with the character. Earle Hyman (Didi), with his usual facile articulateness, talked about his own cultural reactions (including music and art), and later said, "I wouldn't have been able to learn my lines in this play unless every one of them meant something definite to me. . . .Nevertheless, I still consider myself a Shakespeare man" (a highly...
...feel the solution to the "enigma" of this play, or of modern music or painting, lies mainly in one thing: familiarity. No work that gives everything it has to offer on first acquaintance can be a candidate for immortality. People are still arguing about the meaning of Oedipus Rex and Hamlet--and these both can be legitimately regarded in all sorts of ways, from a first-rate detective story on up. The same is true of Godot; familiarity yields ever-increasing insights. One sees that the four main roles represent humanity ("All mankind is us"). Beckett presents them, however...
Last fall, the Drama Group presented Oedipus Rex and The Critic; Hal Scott played the lead and D.J. Sullivan directed...
...Mantan Moreland with Bert Lahr, who played Estragon in the original American production, but it is difficult to imagine any performance which embodies slapstick drollery and technical subtlety to a higher degree of perfection. Earle Hyman as the more intelligent Valdimir suggests just the right amount of dignity, and Rex Ingram makes a beautifully fearsome and pathetic Pozzo. As for Lucky, the part demands a pantomimist, and in Geoffrey Holder it has found a master of this form. Herbert Berghof, who also directed the original production, molded the four performances into a superbly balanced whole, and accomplished his job with...