Word: stagecrafter
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...Wilder; produced by Michael Myerberg). In Our Town Thornton Wilder abolished space and expanded Main Street into the universe. In The Skin of Our Teeth he has annihilated time and turned the Antrobus family of Excelsior, N.J. into the story of mankind. But where Our Town, despite its reckless stagecraft, was a warm and human allegory nourished with cracker-barrel wisdom, The Skin of Our Teeth is a cockeyed and impudent vaudeville littered with asides and swarming with premeditated anachronisms. Dinosaurs collide with bingo; the Muses jostle the microphone...
...permanent clipping. De Mille, almost singlehanded, bludgeoned the industry into big business, into a new knowledge of production values, and into an acceptance of stagecraft (genuine sets, etc.) -an important advance. He did this by dishing out a series of pretentious pictures which ran an enticing gamut from sex (Male and Female) and high living (Affairs of Anatol) to orgiastic uplift (The Ten Commandments). They earned him the Order of the Holy Sepulchre and a gold medal from the bathtub industry (for making cinemagoers bathroom-conscious...
...tired scenery, oopsy ballet, timid stagecraft, ruthless mugging of the Met may have irritated operagoers more often than not. But the end of the season brought gloom last week to one of its fans: burly, weather-beaten Joseph Bartnik, traffic cop at the corner. A onetime burlesque-house tenor, Patrolman Bartnik likes to drop in on rehearsals, has had many a pass for Met performances...
Great is Manhattan's Metropolitan Opera. But much of its scenery is hideous, most of its stagecraft pompous, hidebound, stodgy. In Europe, opera is everywhere sung in the language of the land, whereas the Met's official tongue is Anything-but-English. Next week the Metropolitan will open its season with some hurdy-Verdi in Italian (Un Ballo in Maschera), a new sponsor for its Saturday broadcasts (Texas Co.), its annual promise of more oomph. Meanwhile last week some other U. S. operas delivered the oomph...
...Edward Choate & Arthur Shields in association with Robert Edmond Jones). Flung on the Broadway pavement many times since it was minted in Dublin in 1924, Juno and the Paycock still rings out like a silver coin. Whatever its faults, there is nothing pinched or paltry about it. Its stagecraft is clumsy at times and its plot too theatrical, but its background is richly Irish and its two middle-aged title characters-sturdy, ill-used, valiant-hearted Juno and her strutting, shiftless, drunken Paycock of a husband-are abundantly alive...