Word: strindbergism
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...Loeb appeared in the Spring issue of the Harvard Review, and on the same subject, he ably represented the forces of sanity at the panel discussion on drama held at Leverett House. Last weekend (and God knows where he and his cast found the time) Babe opened Strindberg's 1907 play The Pelican at the Loeb Experimental Theatre...
...Pelican is one of Strindberg's more harrowing achievements. Roughly, the story concerns the tragic changes in a family following the death of the father and the marriage of the daughter. The mother is in love with her newly acquired son-in-law, not realizing that he is interested only in the dead man's estate. These and other conflicts finally lead to a series of catastrophic confrontations in which the family, perhaps aided by the spirit of the dead father, turn against the mother and bring about the destruction of the entire household...
...Connolly reading list [March 25] is hopelessly provincial. However you define modernism, it is an international phenomenon. Yet Connolly leaves out Ibsen and Strindberg, Nietzsche and Rilke, Tolstoy and Chekhov, all of whom surely have "helped shape the contemporary mind" to a far greater degree than Ivy Compton-Burnett or Henri Michaux. What about Marinetti and Cavafy and Karel Capek and Federigo Garcia Lorca and other influential thinkers who did not happen to write in English or French...
...Loneliness of the Long Distance Runner -which Tony Richardson directed-played Pasha in Zhivago, will go back into rep this summer. Albert Finney, who was Tom Jones, has a few more weeks in Arden's Armstrong's Last Goodnight at the National Theater, will next do Strindberg. Gielgud, who brings his Ivanov to the U.S. in April, this time with Vivien Leigh, was seen the last two weekends in The Ages of Man on CBS television in the U.S. Julie Christie, having finished Doctor Zhivago, starts shooting François Truffaut's Fahrenheit 451 this week...
Deep South? Hollywood? On to Colette's Cheri; more copyright problems, another misfire. Deciding that "you can't write opera unless it's you," he hit on Strindberg's play Miss Julie, whose morbid Freudian thickets "fitted me; I am fascinated with death." The Scandinavian setting, too, suited his Norwegian heritage, but he and Librettist Kenward Elmslie figured that the drama might have more impact if transformed into a love tragedy involving a Deep South heiress and her Negro servant. Timely and all that. Off to New Orleans they went to soak up some local color...