Word: slapstickers
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Morgan has visions of fleeing animals, the movie gallops toward terror and despair--and still the slapstick, only mildly successful in the begining, drags on. The last scenes are unabashed surrealism, as the whole second half of the show should have been. There are teasing ideas, of beauty and the beast and rebirth, among other things, that are the most delicate and satisfying form of symbolism. But there is too much of an attempt at humor, at slapstick tragedy...
Directors Peter Skolnik and Dean Stolber, who also play the two Dromios, have contributed a farce-full of sight gags and slapstick, but the show simply hasn't enough substance to keep itself moving. And the lack of a single not-otherwise-occupied director probably accounts in part for the fact that some of the actors go their own inexplicable ways without much regard for the rest of the cast...
...debate and the events preceding it are shot through with gags, word play and pure slapstick. The funniest sequences are those employing the choruses, one made up of Frogs and the other of a band of religious initiates. Here Munger is most skillful, as he breaks up great masses of potentially monotonous lines and, at one point, turns the stage into a daffy bacchanal, a kind of Attic "Hullabaloo." The choruses run the gamut from barbershop quarter to square dance, singing and chanting and generally cutting...
Divorced. By Mary Costa, 36, blonde and beautiful lyric soprano, who left a $150,000-a-year job as TV's Chrysler Girl for an opera career, making her widely acclaimed 1964 Metropolitan debut as Violetta in La Traviata: Frank Tashlin, 53, Hollywood writer-director of slapstick comedies (The Man from the Diners' Club); on grounds of cruelty; after twelve years of marriage, no children; in Santa Monica, Calif...
...season's dozen hits he came up with four: Marat/Sade, Inadmissible Evidence, Cactus Flower, Philadelphia, Here 1 Come! And he also has Dolly!, now in its third winter and still running strong. Without Merrick's contributions the dying season, in which plays by Edward Albee (Malcolm), Tennessee Williams (Slapstick Tragedy), and William Inge (Where's Daddy?) succumbed in swift succession, could fairly be declared a calamity and Broadway a disaster area. With Merrick's offerings, 1965-66 will be recorded as a minor sinking spell in the long decline of legit...