Word: romeos
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Dates: during 1950-1959
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Macbeth did not strikingly differ as a production from the Old Vic's competent, rather than brilliant, Richard II and Romeo and Juliet. But it so much more powerfully reverberated as a play as to offer greater rewards. And much of its strength lay in what had been the earlier productions' weakness-the title roles: despite limitations, Macbeth and his lady made a striking pair...
...Romeo and Juliet also had its points but was not very successful as a whole. Claire Bloom's Juliet was beguilingly youthful to look at; she had her moments of poetry, of awakening ardor and awakened passion. But she mixed talent with tediousness, was too mannered, too slow-paced, seemed half a Juliet really in love with Romeo, half an actress merely in love with her role. In that tender trap of a part-Romeo-Actor Neville was sometimes graceful, but, as with his Richard, never simple enough, and, like too many other Romeos, never real...
...brawling and festal side, this Romeo was well done. There was some individuality but little lure to Paul Rogers' Mercutio, some novelty but too much license to Wynne Clark's Nurse. What held both productions together, for all their want of urgency and luster, was a frequent feeling for the eloquence of verse, a certain knowledge of the architecture of scenes...
...Richard II, Romeo and Juliet, Macbeth, Troilus and Cressida...
...without regrets ("After all, my wife is the greatest singer in the world"). Whenever she goes onstage, he kisses her, utters the customary European good-luck wish, "Merde." He presents her with a bright cluster of expensive jewelry every time she sings a new role, gave her an Alfa Romeo ("If an ordinary artist has a Cadillac, how can I own a Cadillac?"), and a four-storied, $100,000 town house in Milan...