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AMADEUS by Peter Shaffer...

Author: /time Magazine | Title: Theater: Blood Feud | 12/29/1980 | See Source »

...death of God, the need for God, the rage against God if he does exist have obsessed Britain's Peter Shaffer for more than a decade. He has written three psychodramas that are, in a way that no author of an adulterous farce could imagine, plays about the eternal triangle. Two men are pitted against each other under the baleful or indifferent eye of a God who is present but never made manifest...

Author: /time Magazine | Title: Theater: Blood Feud | 12/29/1980 | See Source »

...present members of the company often turn up on their own in outside productions. Ian McKellen, an actor of formidable power who left the company in 1978, has since starred in the London production of Martin Sherman's Bent and will appear on Broadway this December in Peter Shaffer's Amadeus, directed by Peter Hall...

Author: /time Magazine | Title: Show Business: Raising the Dickens in London | 11/24/1980 | See Source »

Michael Pillinger shows no fear--and, more important, no ineptitude--in this outstanding production. With enormous skill and grace, he confronts Peter Shaffer's challenging play--a work full of sound and fury, signifying everything from spiritual impotence to the decline of Western culture to the terrifying Question of Human Existence. Shaffer adds to these staggering themes theatrical devices like cross-cutting, long soliloquies, nudity, and the presence of strange, ingeniously-stylized man-horses. Equus is as uncompromising with its audience as it is with its cast and crew. Shaffer keeps you on your toes, enthralled and yearning. He demands...

Author: By Jacob V. Lamar, | Title: Equine Delight | 11/20/1980 | See Source »

There are subjects, and this seems to be one, that are almost too romantic to discuss objectively--Bird and Shaffer barely mention the internal splits that divided the IWW into Two Medium-Sized Opposing Camps, and they gloss over the unfulfilled need for an intellectual construct for the union. But what they do focus on is more important. J. Edgar Hoover cut his teeth on the Wobblies; in the face of government's crudest repressions, these immigrant laborers, farm-workers who rode the rails, and confirmed Marxists shone. The film opens with the interrogation of a Wobbly arrested for giving...

Author: By William E. Mckibben, | Title: I Wobble Wobble | 9/29/1980 | See Source »

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