Word: shakespeareanly
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...Lincoln Center King Lear is distinguished by a supporting cast that truly supports. A rarity in the past, the players' acting rapport is a tribute to the skill of Director Gerald Freedman. Philip Bosco's Kent is a beautifully modulated performance with a Gielgud-like delivery of the Shakespearean line. Rene Auberjonois as the Fool is a supple mime of wisdom and Stephen Elliott's Gloucester is a man of probity incarnate, woefully abused. Barbette Tweed's Cordelia is appropriately sweet and good; Patricia Elliott as Regan and Marilyn Lightstone as Goneril are properly serpentine. Only Stacy Keach disappoints...
They are not hungry for Shakespeare, but Zeffireli's Romeo and Juliet will surely do much to reawaken a youthful identification with the aristocratic "star-crossed lovers" who have been so long in the limbo of Required Reading. This is one of the handful of classic Shakespearean films; it ranks lower than the Olivier Henry V, but only because of the substance, not the direction. With a charged, witty camera, Zeffirelli has managed to make the play alive and wholly contemporary without having had to transfer the action to a modern setting. Romeo and Juliet appear afresh...
ROSENCRANTZ AND GUILDENSTERN ARE DEAD. Tom Stoppard borrows the Mutt and Jeff of the Globe entourage, keeps them in the Shakespearean situation, but endows them with 20th century complexes and complaints. John Wood and Brian Murray revel in the sometimes melancholic, ofttimes witty dialogue...
...called forth productions that were awash with romanticist naturalism-gingerbread houses, magical forests and peasant maids. Wieland Wagner twice tried to replace all this with fresh approaches. In 1956, he staged the work as a spare, poetically brooding vision, in 1963, as an authentic but highly mannered recreation of Shakespearean theater...
STRATFORD, CONN.--Yes, Androcles and not Pericles. For the forty-seventh production in the history of the American Shakespeare Festival, the powers-that-be have for the fourth time gone outside the Shakespearean canon. The first departure, in 1963, was Shaw's Caesar and Cleopatra; and this year we once again have Shaw. In between, the Festival gave us Eliot's Murder in the Cathedral and Anouilh's Antigone...