Word: sirs
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Dates: during 1970-1979
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William has blocked the entire finale effectively, and the reuniting of the siblings is touching indeed. But he should not have allowed Antonio to misaccentuate "unhospitable" (Shakespeare's only use of the word), nor told him to substitute "hazard myself" for "expose myself." Similarly, he has permitted Sir Toby to stress the second syllable of "exquisite" and bidden him change "Sophy" to "Shah of Persia." Let's leave Shakespeare's text alone. When you start tinkering with obscure terms, where do you stop? The audience does not want to have gratings thrust upon...
...towering Fred Gwynne '51 departs from the usual Falstaffian Sir Toby, and gives full rein to his wellknown comedic talents, whether goosing Maria, hiccuping or extracting hidden booze from unexpected places. He also proves himself, in his fight with Sebastian, to be a really first-rate fencer--which seems all the more impressive in the wake of the sidesplittingly inept duel between Viola and Sir Andrew, both of whose foils fly into the air at the opening engagement en quarte, and, later on, wind up in a single hand. Farcical fencing is no easy trick to pull off, and Patrick...
...Sir Andrew, the silly suitor, David Rounds is undeniably funny; but turning Andrew into a mere moron is a superficial solution to what ought to be a much more complex characterization. At the performance I saw, the regular Maria, Roberta Maxwell, was replaced by her understudy, Sarah Peterson, who played with all the spirit and assurance of one who had been a servant in the household for years...
...priggish majordomo Malvolio is the play's pivotal role. He is, along with Shylock, one of Shakespeare's two great comic butts. Malvolio was modeled on Sir William Knollys, Queen Elizabeth's puritanical and much ridiculed comptroller. Both Malvolio and Shylock were so richly written, however, that later ages have often found the roles sympathetic and even tragic. Both offer much leeway to directors and actors. Here, Philip Kerr '63 offers a thoroughly dour and self-inflated misfit who deserves the gulling he gets. In this production, not only is he imprisoned in a dark cell as a lunatic...
...great detective's lodgings at 221 B Baker Street. Rosenberg is an amateur literary bloodhound who once made his living heading off plagiarism suits for a film company-by proving that both plaintiff and defendant had stolen from older sources. He now makes a most convincing case that Sir Arthur Conan Doyle, the ex-eye doctor who created the world's most famous sleuth, was really "a compulsive self-revealing allegorist." Rosenberg unearths both hard and agreeably circumstantial evidence that Conan Doyle modeled the evil Professor Moriarty on Friedrich Nietzsche -not because the philosopher was a criminal...