Word: seltzers
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...translation from page to stage owes much to George Hamlin, who directed the Loeb version; but it owes more to Daniel Seltzer, who acted Lear. Those of us who saw Seltzer as Falstaff and Faustus expected that he could meet the test of King Lear, and he does. In a role which demands an incomparably exhausting range of emotions, Seltzer manages them all. From the first scene, an unlikely, impossible beginning, his Lear was "every inch a King." In that scene he made the mythology work, starting at a tremendous pitch and moving past it. Lear roars, cries, whispers, laughts...
...Loeb's commencement production of Julius Caesar is, as Brutus might say, indeed ambitious. Director Daniel Seltzer parades a huge cast (playing eighty parts) across the cavernous main stage, dresses them in sumptuous costumes, mixes them together in mob scenes and battles, and supplements it all with a broad range of lighting and sound effects. But if his effort is ambitious, the result is at best uneven; Seltzer's Caesar is at times taut, at times grotesque, most often flat...
...Seltzer, in choosing to be as realistic as possible with an opulent production, has risked much. Sometimes the lavish effects work. Jon Warburg's lighting, especially in the storm scene and in the gloom of Brutus's tent on his last night, is imaginative and excellent. But the sound effects are artificial and distracting, the costumes cumbersome and noisy, and the battles athletic but hardly dramatic...
...translation from page to stage owes much to George Hamlin, who directed the Loeb version; but it owes more to Daniel Seltzer, who acted Lear. Those of us who saw Seltzer as Falstaff and Faustus expected that he could meet the test of King Lear, and he does. In a role which demands an incomparably exhausting range of emotions, Seltzer manages them all. From the first scene, an unlikely, impossible beginning, his Lear was "every inch a king." In that scene he made the mythology work, starting at a tremendous pitch and moving past it. Lear roars, cries, whispers, laughs...
...Close on Seltzer's acting heels is Mark Bramhall, Edmund the bastard son of Gloucester. Bramhall dominates the big Loeb stage and plays a cunning, cold-hearted bastard with wonderful confidence and relish. Standing near Bramhall are Lear's fool, Harry Smith, who seems too bitter, too sharp at first, but who persuades us finally; the Earl of Kent, Yann Weymouth, who acts with welcome restraint amid the general ranting; and Edgar, Richard Backus, who makes a fine fool and a noble Edgar. John Ross as Albany and Thomas Weisbuch as Cornwall both perform well, but they are in demanding...