Word: scopes
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Dates: during 1970-1979
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...swagger and perform because he still was possessed by the vision of
changing the consciousness of his time. It was a question of finding
its most vital form, of finding something to love beyond an idea or an
id
Given such grossness, why should Little Big Man be counted as a rambunctious triumph? Because in its 360° scope of slaughter and laughter, the film has contrived to lampoon, revere or revile the length and breadth of the entire frontier. On the trek, it demonstrates inconsistencies and errata. For months audiences will be talking about them. It also accomplishes that rarest achievement, the breathing of life into an ossified art form. The '70s has its first great epic. Blood brother to the 1903 one-reeler, The Great Train Robbery, Little Big Man is the new western to begin...
...people who fill the structure, however, make a great deal of difference. The conflict is as simple as the fact that the CDA staff is comprised of liberals who want to expand the scope and responsibility of city government in social welfare; while City Hall is dominated by conservatives who are afraid to extend the fiscal involvement of the city...
...ACTORS have come hither, dear reader, and-as Polonius would have it-they're set on being the best actors in the world. Either for tragedy, comedy, historical, pastoral, pastoral-comical, historical-pastoral, tragical-comical-historical-pastoral. And all within the scope of one play, mind you. The play in question being Peter Raby's adaptation of Alexandre Dumas' The Three Musketeers. And given that Raby renders the venerable old Dumas novel in a succession of Forty, Count em, Forty, Swiftly Moving and Breathtakingly Dramatic Scenes-See D'Artagnan outwit the Cardinal's guards! See Milady de Winter steal...
Simplicity often seems to have the scope of an epigram, and the plays at Lowell House seem to universalize Blitzstein's lyrics even more by their free sweep through time and space. Wakeen Ray-Riv is director and choreographer of "The Harpies," set in ancient Thrace. A farce based on Apollonius, it is Blitzstein's first opera to his own text, performed only once before, in 1953 at the Manhattan School of Music. The new staging here and emphasis on dance is a vital response to Blitzstein's dedication to popular art and depends on the spirit of community...