Word: rosencrantzes
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...male caller told Jeremy C. Gelb '76, who was in charge of the bells desk, "Currier House will be blown off the map in half an hour." Gelb notified Paul and Barbara Rosencrantz, Currier House Co-Masters, and also notified Harvard police...
Unlike Harvard's other student playwrights--the authors of Bicentennial Follies, for example--LaZebnik draws his chief inspiration from literary classics rather than from the contemporary American scene. His technique, like Tom Stop-pard's in Rosencrantz and Guildenstein are Dead, is to abstract well-known characters from their original dramatic setting and place them in an absurd world where they toy with the conventions of language, and quest--unsuccessfully, of course--for the meaning of their existence...
TRAVESTIES. Playwright Tom Stoppard (Rosencrantz and Guildenstern Are Dead, Jumpers) spews wit, wordplay, paradox and thought like tracer bullets, and, in a performance of indelible virtuosity, John Wood sees that every bullet is dead on target...
Exile, to some degree, is Stoppard's abiding theme. Rosencrantz and Guildenstern Are Dead is exile through ignorance. The two mini-heroes do not understand Hamlet or Elsinore. Junipers is exile from God. No one can clearly divine his purposes or verify his existence. Travesties is exile by intent, a rebellion against social traditions and aesthetic norms. Travesties, a play-within-a-monologue, begins with the age-frazzled Carr (John Wood) reminiscing intimately about the famed Zurich trio in a way that illustrates a perennial travesty: the ravages of time on memory. What follows is part vaudeville, part nonstop...
...never find a playwright whose work I liked." Then he was sent Teeth, a television comedy by an unknown named Tom Stoppard. Wood played a cuckolded dentist who turned his rival's teeth green. Shortly afterward, Wood starred on Broadway in Stoppard's first stage hit, Rosencrantz and Guildenstern Are Dead. The Establishment again beckoned; the RSC had asked Wood four times before he agreed to join them. To his relief, "they accepted me completely." The RSC is now home. He can do what he wants: an iconoclastic Brutus in 1972, then the suave, icy Sherlock Holmes last...