Word: sheanshang
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Dates: during 1970-1979
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...lovers, Mary Ennis and Michael Gury were appropriately love-struck. As Caliban, George Sheanshang spent most of the evening crouched on all fours-no easy trick, I would suspect-while also managing to inject a certain amount of pathos in his position as the dumb mutant whose momentary aspirations only serve to force him lower to the earth. And all the while, Richard Kravitz, playing the jester Trinculo, and W. C. Fuller as the drunken Stephano, contributed a number of nice comic bits without, thankfully, appearing to strain for the laughs...
...busiest actor on stage, Carden is called upon to handle battles, brawls, and bedroom scenes and does so winningly with his usual blend of physical energy and ingenuous geniality. He provides the driving force that sets the other three musketeers-Michael Smith as the clothes-conscious Porthos, George Sheanshang as Arannis the aesthete, and Casey Clark as brooding Athos-into action...
George Ede's Pozzo is probably the best-played role: simply because he is orthodox (i. e., he follows Beckett's intentions) the part is convincing, assured, and professional. But George Sheanshang as Lucky, Pozzo's bearer, presents a special problem. Sheanshang acts intensely and well, is properly demented, and has bestowed on his character just the right Marat/Sade touch. Yet because his buckskni leggings, his moccasins, his headband, his pigtails, and his blond fright wg make him look like an albino Apache, the spectre of Lucky-as-oppressed-Red-Man is aggressively and offensively present on stage...
...actors all work hard, and, thanks to Boorstin's incredibly swift blocking, almost succeed in making the show move. Unfortunately, Saunders has given them attitudes rather than parts. In this sense. George Sheanshang is magnificently fiery as the play's quasi-narrator, and Virginia Cook, a fine comedienne, plays confusion in the best Morton Lorne manner. Leigh Woods, as an actor playing a hermit whose life is investigated by the others, makes his character live in the brief sections where the playwright lets him live. But most of the time, Saunders has the hermit's tragedy described to us, rather...