Word: staging
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Dates: during 1960-1969
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...this way the characters manipulate the audience. The audience will react to every linguistic image-every "box"-while totally forgetting that the people on stage are human beings having nothing to do with the way they talk. Many old liberals will be so hung up on their knecjerk reactions to dialect that they will fail to deal with these people on the basis of anything but those superficial bases for which they have Pavlovian responses. The audience will be too screwed up-and frightened-by the play's complex inverted humor to listen to the words- or laugh...
...number of shortcomings. In a community that sends only 30% of its students to college, Sandy Run offers a rudimentary college-preparatory program (English, history, science, mathematics, French), but no vocational training. There is no gymnasium or athletic field, no cafeteria, and little audiovisual equipment. The auditorium has no stage. Library bookshelves are mostly empty. There are cheerleaders-but no teams to cheer...
...each other, unmotivated in conventional terms, and obsessively concerned with self-expression. One boy insists that he wants to be a hoofer and comedian, though he is a pathetically inept dancer and his jokes fall flat. At one point, Joe (James Broderick) the café philosopher who dominates the stage, puts 27 sticks of gum in his mouth because he has always wanted to do it. When Saroyan says, "In the time of your life, live," one realizes almost eerily that there, 30 years ago, the cry was first raised about "doing your own thing...
Only the actors and essential stage hands are allowed in the theater during Anouilh's rehearsals, and everyone involved in an Anouilh production is generally expected to maintain strict silence about the play. On first nights he hides in a corner of the theater. As usual, after the opening of Cher Antoine, he slipped quietly out of the house before the applause began and shuffled off into the night, without taking a curtain call...
...flaws, Morning, Noon, and Night, which premiered on Broadway only last year, is an important experiment in Loeb programming. Boorstin has mounted a production of main stage importance. even if it might have been more at home in the more intimate surroundings of the Experimental Theatre. Nonetheless, the result is solid evidence that the invidious distinction that has often existed between the two Loeb stages is absurd...