Word: staging
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Dates: during 1960-1969
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...When two persons cannot deal with each other directly, they sometimes focus their attentions on a third party. Zena Walker and Donal Donnelly exhibit stage expertise as a man and wife who try to speak to each other through their hopelessly crippled child. An unlikely theme for a comedy but, in Peter Nichols' quasi-autobiographical play, it works...
...sniff the air," said one S.D.S. officer, Carl Oglesby, "and there is a trace of the devil's presence that wasn't there last year." Many of the 900 vociferous delegates at Michigan State University seemed to be convinced that the U.S. is in a "prerevolutionary" stage in which the forces of conservatism will use violence to stamp out change. They treated reporters covering the convention as mortal enemies. Like many other radicals, the delegates displayed something of a martyr complex, expressing fear that S.D.S. was in imminent danger of being squelched by "the system...
...inmates of the asylum of Charenton seem to be taking over the New York stage. This season Hair, Tom Paine and now Futz!, which opened Off-Broadway last week, have provided farcical variations on the mood and style of Marat/Sade. The moans and hisses of the patients have become a crescendo of grunts, screams and belches that resembles feeding time at the zoo. The naked backside of Marat seems to have emboldened a score of males and females to face the audience topless and bottomless, an unforeseen threat to costume designers. The writhings and stomping of Marat/Sade's insane...
With so little plot, there is ample time for assorted stage business. At one point, two men simulate making love to the nympho, sandwich-fashion. At another, a mother opens her blouse to suckle her grown son. As in The Beard, there is a vivid portrayal of an oral sex act. Director Tom O'Horgan, who also staged Hair and Tom Paine, keeps his cast dancing around in a style that blends early Martha Graham with late Cotton Club...
...idea for the Public Theater began with Papp's feeling that, while Shakespeare speaks to modern man, he wanted also to stage contemporary plays dealing with contemporary themes. "I wanted a theater," he explains, "that was doubting, questioning, grey not pink, that took on a social character. The world is dark, and I felt a need for works that would reflect that mood. I did not want another menu theater-a little of this, a little of that-like our regional and repertory companies...