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Dates: during 1950-1959
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Nothing of the sort can be said for anyone else in the cast, though John Lasell as Jack and Wendell Clark as Algy do some nice things after they have gotten over their first-act stiffness. Mr. Lasell has no sense of Jack's earnestness, his utterly sincere hypocrisy, his damnable stuffiness; Mr. Clark copes somewhat better with Algy, but cannot quite hit off his incorrigibly cheeky lightmindedness. As a result, they appear as a set of almost interchangeably cheerful young men. Gretchen Kanne misses the hothouse bloom of Gwendolyn, who exists in and through Society like an elegant bacterium...
There are two categories of undergraduate expedition: 1) scholarly, and 2) really scholarly. Presumably of the first sort is the trip planned by one Cantabrigian, who advertised for an "attractive young lady for Norwegian tour. Must be willing to carry own rucksack 20 miles a day." But both kinds cost money, and for purposes of wheedling cash and supplies an impressively academic purpose is a requirement. Said one expedition veteran: "The trick is to decide which place in the world you most want to visit, then find some compelling scientific or historical reason for going there...
Never Steal Anything Small (Universal-International) was first conceived by Playwright Maxwell Anderson and Director Rouben Mamoulian, back in 1953, as a Broadway musical drama-a sort of Guys and Dolls with a social message. The message: If Robin were alive today, he would be a labor leader, and even if he gave to the poor what he stole from the rich, he would still be damned for a Hood. What with the conservative temper of the times, and a series of union scandals, the authors could never quite raise the money fof a Broadway production-a difficulty that...
...Director, Leading Lady, and Leading Man of Pirandello's theatrical company, Dean Gitter, Gretchen Kanne, and Wendell Clark delineate three phonies without ever a phony stroke in their performances. Mr. Gitter's role is more extensively characterized than the others, and he brings to it the right sort of pudgy excitability and pseudo-suavity. Ray Reinhardt, Dora Landey, Richard Mathews, and Helen England are the most prominent of the Characters, and they handle their long, passionate speeches with conviction. Mr. Reinhardt's and Miss Landey's roles especially are searching tests in emotional acting. They pass, as it were, with...
...obsession with the illusiveness of reality, and the peculiar sort of structure generated by this obsession, give the author a chance to display his marvelous dexterity in contriving all sorts of ironies and subtleties and stage effects out of the relation between Characters and Actors. He is an expert in gimmickry--indeed, the whole play is really a gimmick, a shell game with reality as the pea. Since he is only a clever intellectual prestidigitator, Pirandello may not deserve his exalted reputation as a dramatic master. But he is a strikingly individual play-wright, and in his way a brilliant...