Word: shakespeareans
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...freshman's "first choice than any other house" (sic) is described tritely and dully; Dunster's "party house" stereotype is reapplied and not examined; amazingly diverse Eliot House is given two paragraphs; Leverett House gets a contrived and badly-written dialogue; and Lowell House is characterized in pseudo-Shakespearean writing of the worst sort. Intimacy and flavor are hard to achieve in descriptions of eight structures which defy categorization, but 320 has not even tried. It has once again failed to include references to house personalities and events which made 318 so notably good. The editors of 320 wisely categorized...
...plots, involving preposterous schemes to make fools of Malvolio, Sir Andrew Aguecheek, and Viola, are very quick and it is here that the players show a comic enthusiasm which should have been sustained throughout the production. Director S. Heilpern Randall, with his good sense of the Shakespearean line, exploits the complete ludicrousness of the situation by treating it colloquially. In the rapid cross-fire of jokes in the garden and duel scenes, one is not at all conscious of the director's work, which seems at other times to be painfully overt...
...guiding principle of the Phoenix is aggressive eclecticism. Theater, say its producers, "means many things to many people. The minstrel show, tent show, vaudeville, Shakespearean repertory, newly discovered European playwrights, experiments in expressionism and constructivism, a platform for a social message. the magic of Irving Berlin and of Rodgers and Hart or Hammerstein musicals...
...last week showed early foot, then fell off the pace, finally closed strong. It was away from the post with The Taming of the Shrew, a brisk Shakespearean gallop which showed Maurice Evans at the top of his form as the impetuous Petruchio. while Lilli Palmer gave smouldering life to the imperious Kate. Staged with wit and imagination by The Hit Parade's William Nichols and costumed brilliantly by Rouben Ter-Arutunian, Shrew was one of the best of Maurice Evans' productions...
...this is not only of peculiar fascination to an age that has witnessed the revival of atrocity. Such conduct is what - in the absence of Shakespearean remorse or classical retribution - psychologically weights the play's later episodes. Tamburlaine is one who, having achieved enormous power, but must almost maniacally assert it: his is no self-preserving ruthlessness or vengeful rancor, but an ego-driven, gratuitous cruelty...