Word: stageful
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Dates: during 1960-1969
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...will see different costs and benefits--but it is essential that the effort be made before the riots become a commonplace practice. To my mind, it is clear that riots are a defeatist tactic because they will inevitably be squashed. It would be better to recognize at this early stage that the Negro can not win a military victory in the United States than to discover this reality years from now after much senseless bloodshed...
...that this day is the ordained and necessary day of death, the catalogue of anecdote and reference might be, lamely but legitimately, the drowning man's life passing before his eyes. But Kirstein's dramatic and literary skill isn't enough to carry it off. The scenes stand on stage until they wilt while the words waddle back and forth, nibbling at them...
Macbeth is also endowed with a hypersensitive imagination. Colicos constantly reacts in little ways to the strange sounds that abound around Inverness Castle (this production has a highly active off-stage soundtrack). The dagger soliloquy comes after he dozes off on a bench; he starts to hallucinate in a half-awake state, and seems hardly to be aware of his own real dagger, which he draws but then drops on the floor. When he goes upstairs to murder Duncan, he carries his dagger behind his back. On returning, he holds two bloody daggers in one hand--again behind his back...
...crumbled about him and without the slightest glimmer of hope left, Macbeth still insists on summoning up his transcendent courage to meet his death with honor. Fine enough, but Houseman carries the idea too far, and the result elicits smiles. Shakespeare specified that Macduff was to kill Macbeth off stage and then enter with the tyrant's head. Instead, we see the entire duel. Macbeth even picks Macduff up and swings him on his shoulders. Macduff while up there pulls out a dagger and stabs Macbeth in the back. But Macbeth is too strong to go down, and several soldiers...
...actors or actresses." In all three of their scenes, their voices are broadcast in a strong whisper over loudspeakers. In the first and third, they are not visible at all; and in the second they are represented by vaguely moving black shapes scarcely perceptible on the almost totally dark stage. This approach serves to increase the impact of the Witches as pervasive and ubiquitous symbols of evil. Only one of the voices is that of a witch, however; the other two are those of war-locks, since Houseman uses men's voices...