Word: skills
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Dates: during 1950-1959
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Ruth White's portrayal of the forgotten movie star is surprisingly unstereotyped. Indeed, the acting always succeeds in rising above the quality of the script. June Havoc flounces about the stage as a superb specimen of moral laxity, and Farley Granger portrays the indecisive gigolo with equal skill. Julie Harris's engaging performance proves her to be a masterful stage veteran...
...laborer in the coal mines, whipped unforgettably with a knotted nagaika while caught fishing on a princely estate. He was semiliterate until his mid-208, when he was sent, along with other Red army civil war veterans, to Lenin's Rabfak (workers' school). He learned his political skill in the apparatus-secretaryships in the Donets Basin, Moscow, the Ukraine; straw boss on digging the Moscow subways-and he translated it, in his first big assignment, into his ruthless purges of Ukrainian nationalists before and after World...
...long time to come. But he has not had a play of his own on Broadway since the earnest, charming Climate of Eden in 1952. (There were those who loved it, but it flopped.) To get over that humiliation, Playwright Hart began to jot down his recollections. With great skill and an understanding gentleness toward stage folk that all good men harbor for children and the feebleminded, Moss Hart has written one of the best memoirs of this or any other theatrical generation...
...item called Fair Game, was given an insultingly inept performance. After a quick reshuffling of plans, the Playhouse bounced back with a fairly amusing production of F. Hugh Herbert's delightful sophisticated comedy, The Moon is Blue, in which Frank Langella and Frederick Morehouse '59-3 performed with considerable skill. Jan de Hartog's The Four-poster, a series of lovely vignettes of married life, came off moderately well in the hands of Tad Danielewski and Sylvia Daneel; but the play really cries out for polished husband-and-wife teams like Hume Cronyn-Jessica Tandy and Rex Harrison-Lili Palmer...
...directors usually make up for the lack of performing skill by choosing off-beat plays; and this summer was no exception. The company kicked off with Goodrich & Hackett's The Great Big Doorstep, and followed it with two of Eugene Ionesco's avant-garde one-acters: The Lesson; and Jack, or the Submission. Neither of the last two is in a class with Ionesco's The Chairs; but both are intriguing if too drawn out dramatizations of his thesis that people just cannot communicate sufficiently through language. Jack was more imaginatively staged here than the New York production last year...