Word: stagings
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Dates: during 1970-1979
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...never suitably explains or justifies his involvement in the whole business--or his determination to be hanged. Harper's characterization is too indifferent to convince observers that he cares about his fate or that of anyone else. He registers all emotion by waving his arms and pacing around the stage, though it seems strange that the most sullen character in the play is also the most animated...
However, I assert that a realistic look at the world around you will show you that at this stage of the game, the two aspects are intertwined, each supporting the other. The South African government's policy of apartheid is political in that it holds that racial segregation is a necessary and beneficent arrangement and it is economic in that it rests upon a system of exploitation of the labors of one race for the benefit of another; the sale of diamonds by a company which is a mainstay of the regime perpetuates both aspects. Similarly, a society which channels...
...Unfortunately, Lurye did not always restrain his musicians sufficiently. They occasionally covered the sound of the bassoon, which with its low pitch and delicate tone was all too vulnerable to such attacks. Despite this serious problem, Sogg stole the show in the end, and had to return to the stage several times to acknowledge the enthusiastic and well-deserved applause...
...language strong," should be a solid character nonetheless. He's the vehicle for Gilbert's satiric venom, and he should be just respectable enough for us to enjoy laughing at him. Jonathan A. Prince turns Porter into a lovable old Codger, who you'd help across the street or stage if you could stop cracking up for a moment. So much for social satire. The sets by Cindy Ruskin are good, the musical direction by David Crowe nothing special. The orchestra keeps rolling along, with only the brass contributing occasionally bad noises...
EXCELLENT singing and enunciation keep this Pinaforeafloat, through scenes and scenes of half-hearted dancing and stage business. Not until the middle of the second act does the cast loosen up, and give a taste of what the entire show could have been like. In the traditional encores after the trio, "Never Mind the Why and Wherefore," Prince, Falk and Weary suddenly perk up and begin to command the Loeb stage. It doesn't matter that many of their routines are classic D'Oyly Carte fare--they start to look like they're having fun. The rest...