Word: subplots
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...seeks the pride the could never have achieved living above a cat house with his degenerate father. Second he learns about the price of integrity, avoiding false emotionalism in his early relationship with Paula. Third, he discovers that he can combine these with true friendship and generosity. In a subplot that could have become hokey, but somehow doesn't Mayo provides the final burst of encouragement a lone female trainee needs to prove herself physically capable of making the grade...
Feliks, the son of a poor country priest elects to assassinate Prince Orlov. The "anarchist chappie," as he is called, moves close to his prey by captivating the susceptible Lady Charlotte, the earl's young daughter. Follett makes good use of a taut if predictable double subplot to forward Feliks' machinations and throw Cabinets, kings and boudoirs into turmoil. The denouement, in which all the major characters and half the British constabulary descend on Walden Hall for the signing of the Anglo-Russian pact, is one of Follett's finest, with a staccato performance by the deceptively...
WITH THIS subline/ridiculous mood firmly in place, the actors go out and have a good time. The singing is occasionally a bit weak, but some witty lyrics and a lot of eager mugging and gesticulating more than carry the songs. Particularly amusing is the whole subplot of a staged "rape" (a lengthy insertion in the program apologizes for the word, and attempts to put it in historical context). Staged by the fathers (Douglas Freeman and Bob Carey)--who, it turns out, really favor union--the rape is designed to bring the two young people together...
...whole rape scene provides the scene for some light comic interplay. A rather sardonic but winning El Gallo (Rich Dikeman) steps forwards to stage the event, for a price. Enlisting a pair of dubious Shakespearian actors, who have their moments in a rather absurd subplot. El Gallo pulls off what he calls a "first-class rape...
...screen whose newsreel image is closing in on some machinery. Step back for the long shot; move in for the closeup. Distance and involvement, irony and sympathy. Working with Playwright Michael Weller, his collaborator on the 1979 film version of Hair, Forman concentrates on one main story and one subplot-Coalhouse Walker's rise to notoriety and Evelyn Nesbit's career as America's first sex goddess-and only glances at or ignores the rest. By taking 155 minutes to tell less than half of Doctorow's 270-page pageant, Forman and Weller have created...