Word: shakespeareans
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Dates: during 1960-1969
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ROSENCRANTZ AND GUILDENSTERN ARE DEAD puts a Shakespearean duo in a Pirandellian situation, then confers on them Beckettian angst mixed with Beyond the Fringe humor. British Playwright Tom Stoppard's play is well served by the acting of Brian Murray and John Wood and the direction of Derek Goldby...
...years since then he busied himself elsewhere in a wide variety of plays, both Shakespearean and other. He had made remarkable strides by the time I saw him do the difficult leading role of Brother Julian in Albee's Tiny Alice two summers ago in Philadelphia. This was a portrayal carried through with subtlety and skill, substantially superior to what Sir John Gielgud had been able to do with the part on Broadway. And now, after nine years, Colicos has returned to the Festival to tackle the tremendous title role of Macbeth and to traverse it triumphantly. His success...
...principals hardly do the lines justice, but many of the secondaries do. Lawrence Senelick has studied his Pistols and Shallows until he has assembled the whole bag of Shakespearean character tricks, and he executes them perfectly. John Lithgow makes an engaging brother to Tom Jones, who carries off the villain's part with great authority. And Sheila Hart, if she would sharpen her diction a bit, would make a perfect world-weary mother...
...four lovers are passable, with each of them rising toward something better and then slipping back. Mark Ritts as Demetrius, for example, avoids the traditional Shakespearean sing-song by offering some of his lines in street English, hardly the proper form. Generally the lovers do too much serious embracing. This is not Albee. Nothing is going to come of it on stage...
...British are not notably enthralled with Lyndon Johnson. But when iconoclastic Director Joan Littlewood brought Barbara Garson's Mac-Bird to town, the critics threw every pan in the kitchen. After seeing the pseudo-Shakespearean parody about Johnson and the death of President Kennedy, the London Daily Mail's critic growled: "Immeasurably witless rubbish." The London Times sniffed: "It is pointless to get too indignant. The production successfully torpedoes what was already a fragile and leaky craft...