Word: stagecrafter
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...this, of course. does not make for a particularly novel evening in the theatre-and undoubtedly some members of the audience will be put off by such anachronistic stagecraft during these chaotic time. True, true, true. But what the hell? I even caught myself crying on a couple of occasions Monday night, and I can be content for at least the rest of the week with theatre that allows me to take my tears...
...uncanny command of stagecraft, that arsenal of small gestures and bits of business that an actor uses to establish his character for the audience. In the final scene of a 1962 production of The Merchant of Venice, Scott, playing Shylock, held a handkerchief belonging to his daughter Jessica. The production was staged outdoors, near a lake in New York's Central Park, and every night a gentle wind blew across the stage. To signify Shylock's loss of Jessica, Scott simply released the handkerchief, and the wind carried it away. In O'Neill's Desire Under the Elms...
Along with all the experience in stagecraft, Scott, then 24, also acquired his first wife, Carolyn Hughes, a Stephens student; they had a daughter named Victoria. He landed a job in a Detroit stock company, where, along with some good roles, he appeared in such asthmatic fare as Come Out of the Kitchen and Broken Dishes. His income was as puny as the repertoire, and after four years of fill-in jobs that included carpentry and cement pouring, Scott returned in desperation to Stephens hoping to teach again. By that time he was the leading campus undesirable. Not only...
...music director−but his own theatrical credentials are highly in order. In younger days, he directed some 30 plays for Stockholm's Royal Dramatic Theater, and at the Royal Opera he has mounted 28 operas. That background ought to equip him for the badly needed revitalizing of stagecraft at the Met. "Opera is a popular art, and it should be as exciting as a bullfight," he says. Gentele has also directed eight creditable films (no international hits)! That fits in with Met President George S. Moore's desire to get the Met into cinema and video tape...
...what turns out to be a mental institution, written by David Storey (whose other current London play, The Contractor, gives emphatic proof that his gifts are not always going to be swamped). As two inmates in the twilight of sanity and senility, Gielgud and Richardson are living textbooks of stagecraft, distilling decades of experience into the flourish of a cane, the fumbling of a card trick, the crack of a voice. Their reading of a passage like the following raises tiny lyrical fragments to a level of Mozartean serenity...