Word: sebastians
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Dwarfing the actors as only the Loeb can do, making action seem remote and impersonal, Sebastian Melmoth's impressive but ugly set puts the Loeb one step closer to a kind of synthetheatre defeating the electricity theatre can generate between stage and audience. The set's colors are not so much terra cottas as flesh and, added to the admirable but arty lighting, the whole thing was weighted toward the ghastly...
Ginn has perhaps made a mistake in directing such a cold play in emotional high-style, emphasizing spectacle with aluminized mylar sheets mirroring the audience, incense burning-away, and bits and pieces of Artaud and Grand Guignol. The set, grotesque caryatids awesomely conceived and executed by Sebastian Melmoth, nonetheless serves little intrinsic function in Ginn's concept, appearing only as so much lavish decoration surrounding the playing area. The costumes and lighting, however, work better, and are superb as only the Loeb can make them...
...supreme masters of Bach interpretation today are men like Helmut Walcha, Ralph Kirkpatrick, Glenn Gould and Karl Richter. But curiously enough, it is the women who always seem to win the Johann Sebastian Bach International Competitions, which are held in Washington, D.C.; in the last six Bach contests, women took first prize four times and tied once for first-place honors...
...commentator, he is the leading exponent of the sportscaster style ("The brasses are taking the theme and running ahead! Folks, this piece is definitely going to go into over time!"). His great contribution to musicology is the "discovery" of P.D.Q. Bach (1807-1742)?, the last and oddest of Johann Sebastian's 20-odd offspring. As countless amused concertgoers and record buyers know, P.D.Q. is the perpetrator of such neglected works as Concerto for Horn and Hardart, Pervertimento for Bagpipes, Bicycle and Balloons, and the oratorio The Seasonings ("Bide thy thyme, now thy subscription's through...
...this case, it is not very much. Guns is a story about a renegade soldier in 18th century Mexico, with a price on his head, who is given sanctuary by an old priest (Sam Jaffe) in the village of San Sebastian. The priest is murdered by the fierce Yaqui Indians, who attack the church as an instrument of the hated white man. They torture Quinn and order him to leave. A village girl (Anjanette Comer), plus his conscience, plus the devotion of the hapless villagers who mistake him for a priest all manage to change his course and set things...