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...theatergoers should probably blame the director for Andy Sellon's Milo Tindle. Sellon, clearly a talented actor, breezes into Wyke's mansion, his teeth gleaming obscenely, and proceeds to act as though he's been there on countless earlier occasions. Perhaps Sellon intends to play Tindle as a rather shallow gigolo, but he is not right for that interpretation--besides, Shaffer has taken great pains to show us a much more complex, sympathetic character, a young man understandably baffled by his host's odd behavior. Sellon's ultra-smooth Milo forgets to be incredulous. He improves in his later scenes...

Author: By David B. Edelstein, | Title: Dime-Store Detectives | 3/13/1978 | See Source »

...home--and the play succeeds more as a comedy than a thriller, but it is comedy of the most superficial kind. The last scene, which dissolves into a farcical exchange between the two characters left alive, is horribly executed, but suggests that Deathtrap has the makings of a clever, shallow spoof of greed...

Author: NO WRITER ATTRIBUTED | Title: Death Throes | 2/2/1978 | See Source »

This statement, like the claim that the minority applicant pools are shallow at present, is difficult to evaluate directly. Only by examining the effort that goes into recruitment, and the results of that effort, can one begin to assess the Admissions Office's degree of commitment to minority recruitment...

Author: By Peter R. Melnick, | Title: Minority Recruitment at Harvard: Still a Ways to Go | 1/23/1978 | See Source »

...publications, Simon became New York's drama critic in 1969 and switched to film reviews in 1975. Simon's movie reviewing for other publications had been first-rate, but the scholar seemed miscast in that role for New York, wasting himself on recondite rhapsodies for slick-but-shallow entertainments like The Spy Who Loved Me, until New York mercifully put him back on the theater beat in September...

Author: /time Magazine | Title: Press: Count Dracula Of Shubert Alley | 12/26/1977 | See Source »

There is no apparent limit to the richness of her patterning. The objects are disciplined by a vertical-horizontal grid, or held like parts of a collage in shallow framing boxes; those formal devices, along with the shapes themselves (the jig-sawed edge of a plank recalling the side of a Braque guitar) allude to cubism. But Nevelson's work, although grounded in a cubist syntax, has very different aims. It is addressed, above all, to mystery. Unified by the black paint, the thousands of objects that make up Mrs. N's Palace shed their identity. They...

Author: /time Magazine | Title: Art: Night and Silence, Who Is There? | 12/12/1977 | See Source »

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