Word: stagings
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Dates: during 1970-1979
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What about major contemporary British playwrights, such as Storey or Osborne? "We don't want to do them--for stylistic reasons. Lots of them tend to write for a 'naturalistic' theater. I think they write in a style where what is seen on stage has to convince the audience that it's the real thing. But the only reality is the actor on the stage and you're watching. Our company is beautiful, eccentric, talented, and the fun is using and stretching the limitations." A recent production of Tennessee Williams' Camino Real, for example, was done in drag, with...
...Glasgow. His movements are lithe, and his gestures expansive without being overwhelmingly "theatrical;" occasionally he will demonstrate what he means by reading a line himself, but not very often and always advancing the reading as a "suggestion." Most directors bark out orders, confusing their actors and exhausting their stage-managers. Some, the nice ones, may preface their demands with a "please," or end them with a "thank-you." Havergal always asks. "Is that okay?" he will say, and you get the feeling he means it. "He's very charming, and very polite. More polite than any student director," Aquino says...
RUDDIGORE, or The Witch's Curse seemed cursed when it premiered in 1887. A vital piece of stage equipment malfunctioned; genteel members of the audience found the title vulgar, objecting to the offensive adjective "bloody;" lower class viewers demanded the revival of The Mikado, which had closed three days earlier. Despite extensive revisions, Ruddigore acquired a reputation for failure, artistically and financially. It was known as "the unlucky opera"--but Harvard is lucky to have it, thanks to a particularly fine Gilbert and Sullivan Players production...
...voice, though the stilted dialogue overpowers Weary at times, and Monnen's Cockney accent seems to have a mind of its own, coming and going at will. But there's no need to carp. Acting in a Gilbert and Sullivan opera is mainly a question of facial expression and stage poise. All of the principals mime and move exceedingly well, and as for the chorus--suffice to say that they deliver a very fine ensemble performance...
Bonn's direction of the large group scenes is quite adept. She can cram the stage with numerous bustling actors yet the audience's attention remains clearly focused. Bonn and choreographer Holly Hendrickson devised several good moments for smaller scenes as well; the sight of Richard dancing in and out of Despard's cape as they scheme together provides one such memorable...