Word: stagecrafter
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...working up so much creative lather with such a versatile hand, Ustinov is "embarrassed to say how much" he earns. His first love is the theater, especially playwriting. Though London critics have called him a master of stagecraft with a Shavian wit, Ustinov is keenly aware of their criticism that he "wins his battles but loses his campaigns." He refuses to add to his work load by getting into TV to stay. Says he with a furtive smile: "I don't want to do more and give less quality. It wouldn't be fair to the audience." Meantime...
Born in The Bronx 26 years ago, Anne (original name: Anna Italiano) grew up into a dark-eyed, black-haired girl with a craving for stagecraft. "I always wanted to get up in front of people and do something," she says. "When I was a little kid, I used to go up to the WPA workers in the street and ask if they'd like me to sing." After a session at the American Academy, she broke into television at 18, played leading roles for two seasons (Studio One, Kraft Theater], then put in a weary tour in Hollywood...
Freeman's poem, in contrast, specifically recognizes the existence of an audience. Certainly the most successful work in this Advocate, it is an hortatory stage whisper to "an audience" accompanied by appropriate rhythmic gestures. The poet succeeds in sharing with his readers some of stagecraft's "dreams," "contrived hallucinations" through which one might "Now in attentive webs, catch rapture fleeting." The sounds are precise, pleasing, and appropriate. The images cast out to the listeners are nearly as fine as the sound that bears them, and there is a welcome humor in the poem's treatment of itself...
...acting is not unduly distinguished, and certain elements of stagecraft seem misguided, it still is very worthwhile in its attempt to put into action Brecht's conception of non-"theatrical" or "epic" drama. The most distinguished element of this production is the well-conceived blocking which gives movement and flow to this esoteric piece of propaganda for the "classless" society...
...forgivable in a small and experimental production, Director Charles Mee has misused and exaggerated Brecht's refreshing approach to stagecraft to such an extent that it seriously detracts from the play. Indeed, Brecht's ideas about "antitheatricality" must be used dramatically, not as an excuse not to sweep the stage. The creamy decor of the bare Agassiz stage with a vista to the light board tends to distract the eye and the attention, rather than to accent the action. The idea of using masque-like make-up is bright and fresh, but the make-up should be carefully and artfully...